Our Eltham - Artistic Recollections by Jim Connor, EDHS newsletter No. 236 October 2017 The Eltham Cemetery Trust, established in 1858, selected the existing burial site at Mount Pleasant Road on high ground overlooking the village of Eltham. The first recorded burial took place in 1861 in the Church of England section. Headstones depict the names of many early and well known local families. In recent years the Trust has encouraged the use of creative artistic elements within the natural bushland environment in their landscaped grounds adjoining Montsalvat. Their ongoing vision has been to offer the local communty a fresh and unique relationship to the Cemetery. On Thursday 21st September 2017 their latest commissioned art project titled ‘Our Eltham - Artistic Recollections’ was unveiled. It is a collection of panels collaboratively created by artist Nerina Lascelles and ceramicist Linda Detoma. The project was designed and constructed by Leigh Wykes using Australian stone with ironwork by Neil Carter. All contributors to this installation, located adjacent to the car park near Metery Road, are residents of the Eltham area. Our Eltham - Artistic Recollections is described as a celebration of life in the Shire since the opening of the Eltham Cemetery more than 150 years ago. Depicting scenes of life in and around Eltham, the collection offers deeper connections to the Eltham area through a series of visual narratives of Eltham’s past, environment and community. The project involves the artistic interpretation by Nerina Lascelles of historic and current images symbolically intermixed with locally indigenous flowers and plants. These are displayed on thirty-one ceramic panels by Linda Detoma, mounted within an iron fence by Neil Carter, upon an attractive rock wall constructed by Leigh Wykes. The Eltham District Historical Society is pleased to have contributed to this project. Russell Yeoman and Jim Connor from our Society have collaborated with Liz Pidgeon, Local and Family History Librarian at Yarra Plenty Regional Library on a selection of photographs, many from the Shire of Eltham Pioneers Collection we hold in partnership, located at Eltham Library. We also provided information on the images chosen. The Eltham Cemetery Trust has produced a booklet about this artwork, which can be viewed on the Cemetery website at: http://www.elthamcemetery.com/oureltham/#1 Our Eltham - Artistic Recollections is a significant monumental installation, which will encourage visitors to come to view this outstanding combination of local creative skills, set within the attractive grounds of the Eltham Cemetery. jim connor collection, eltham cemetery trust, montsalvat, our eltham artistic recollections, 2017-09-21

This photograph shows the crew of the first HMAS Warrnambool (J202) marching east along Timor Street in Warrnambool, just opposite the Post Office on the corner of Gillies Street. People are watching the parade from the footpath and two boys, dressed in their ‘best’ clothes, are marching alongside the crew. The HMAS Warrnambool was one of 60 Bathurst class corvette vessels built during World War II for the Royal Australian Navy (RAN) as armed minesweepers. The namesake of the City of Warrnambool, Victoria, was launched in Sydney in 1941. The HMAS Warrnambool began service with patrols off Bass Strait in 1941. In December the ship docked in the Warrnambool harbour at Lady Bay. The crew came ashore and performed a march for the city. The Mayor, Cr. John R Astbury presented them with a plaque of the City of Warrnambool’s Coat of Arms and the Warrnambool Patriotic Fund gave them a gift of 110 books for the crew’s library. The Warrnambool served in Darwin during the time it was bombed, it was involved in several rescues and carried troops to New Guinea, it carried out escort and patrol duties on Australia's east coast, then at Fremantle and back to Darwin. The ship was at Timor when the Japanese surrendered in 1945. It performed mine clearance work around the Solomon Islands and New Guinea after the war. In 1947 the HMAS Warrnambool was at the Great Barrier Reef, off the Queensland coast, to clear the defensive British mines previously laid to protect Australia’s boarders. The ship hit a mine near Cockburn Reef, exploded and sank shortly afterwards. One of the 70 or so men on board was killed and three died later. The rescued men were transferred by boats to the nearby HMAS Swan II, which took the survivors to Cairns. The four deceased were Victorian seamen. In May 1948 the Royal Australian Navy divers recovered a number of items from the wreck, including the ship’s bell and the City of Warrnambool plaque. In 1949 the RAN returned the plaque to the Warrnambool City Council, and donated the ship’s bell to the Australian War Memorial. Further objects were recovered in 1972-75 by Southern Cross Diving and Salvage. A memorial plaque was erected in Warrnambool on September 13, 1995 in honour of all who served on HMAS Warrnambool. NOTE: (1)- HMAS Warrnambool II (FCPB204 was built in 1980 in Cairns, with a compliment of 22 personnel. It was decommissioned in 2005. (2)- SS Warrnambool, a steam and sail ship, was built in 1892 in London and broken up in 1926. [A more detailed history can be found in our Collection Record 3477.]This photograph is significant for its association with the lifesaving rescue of the crew and the sinking Royal Australian Navy vessel, HMAS Warrnambool (J202). The HMAS Warrnambool played a nationally significant role in overturning Australia’s Immigration Restriction Act 1901 (colloquially known as the White Australia policy). The ship rescued, and brought to Australia, Samuel and Annie Jacob and their family after they evacuated Dutch East India. The family was threatened with deportation and made the first successful appeal to High Court regarding that Act. The HMAS Warrnambool has - Local significance for being the namesake of the City of Warrnambool - Local significance, having docked in Warrnambool Harbour - Local significance, the crew having paraded in Timor Street, Warrnambool - State significance for its first patrol being in Bass Strait. - National significance, being present in Timor at the Japanese surrender - National significance, shown by the significance of the ship’s bell being curated as Military Heritage and Technology at the Australian War Memorial. - National significance as part of Australia’s defence force history, being one of only four Bathurst class corvettes lost while in Australian service, the only Bathurst class corvette lost after World War II, the only RAN vessel to be sunk by a mine, and associated with the last four Navy deaths of WWIIPhotograph of the crew of HMAS Warrnambool J202. This black and white image shows the crew marching east along Timor Street in Warrnambool. People are watching from the footpath and two formally dressed boys are marching alongside the sailors. Inscription on the reverse.(PRIVATE details - See Notes)flagstaff hill, maritime village, maritime museum, warrnambool, shipwreck coast, mort's dock & engineering co ltd, h.m.a.s. warrnambool, hmas warrnambool, hmas warrnambool i, hmas warrnambool j202, hmas swan ii, j202, world war ii, bathurst class corvette, royal australian navy, ran, sydney built ship, bass strait patrol, sea mine patrol, mine sweeper, mine clearance, navy divers, great barrier reef, cockburn reef, southern cross diving and salvage, warrnambool city council, cr j r astbury, mayor j r astbury, warrnambool patriotic fund, seal, coat of arms, dedicatory plaque, hmas warrnambool 1941, shipwreck by sea mine 1947, sinking ship, sunk ship, marching, parade, timor street warrnambool, minesweeper

This three-dimensional Distant Signal is part of a Flagstaff Signal set of ball, cone and drum shapes. It has been woven and then fabricated with strong metal swivel fittings and loops for suspending from a high point on a flagstaff at a signal station or on a ship’s masthead. The cane signal was constructed to withstand all weather and to be visible from a long distance. The gaps between the woven cane allow air to pass through, minimising possible swaying. Similar sets were made from rope or fabric. Warrnambool's Flagstaff was erected in 1854. Its primary use was to display visual signals that could convey messages between land and sea. It was also used to notify the local population of the approach of ships. One of the popular signalling codes in use in the early-to-mid 1800s was the Marryat’s Code but there were others in use as well; there was no one standard code. In 1857 the International Marine Conference adopted an International Code of Signals as a standard communications system for all vessels that could be understood in many different languages. The Normanby Advertiser reported on June 5th 1857 a query from the Post Master General as to whether the request of the Chief Harbour Master would be carried out, in that Warrnambool would receive a new flagstaff and a set of Marryatt’s signal flags. The Table of Codes was published, showing how to use combinations of these flags to send messages. The Code was revised in 1887 to cover situations where distance, light, wind and weather conditions affected the visibility of the flags and prevented clear communication. The first report of the International Code of Signals Committee of 1897 warned signalmen not to rely on ordinary semaphore flags and introduced a Distant Signal Code using either particular semaphore flags or the three-dimensional shapes of a ball, cone and drum that aligned with the semaphore flag shapes of a circle, pennant and square. International Code of Signals In 1931, after World War I’s experiences in using signal codes, the International Code of Signals conference in Washington revised and published the rules for the conduct of signalling. One of the changes was that “the use of the Distant Signals and of fixed semaphore was abandoned”. It is of interest to know that modern marine law in many countries insists that a set of Day Shapes must be carried onboard vessels of a certain size. These highly visible geometric shapes are used at sea in daylight to communicate messages between vessels. They are used in a similar way to the Distant Signals, in that different combinations of shapes represent different messages. The set of shapes includes a ball, cylinder, cone and diamond. The shapes are hung between the top of the vessel’s foremast and the front of the vessel. They are only coloured black and are about 1.5 metres high. The vertical line of shapes can mean messages such as Boat not under command, Fishing, and Under sail and power.Distant Signals were an important means of marine communication from the late 1880s to the early 1930s, including during World War I. They were an advancement to the International Shipping Codes and safety. The cane signals’ shapes appear to be the same from whatever direction they are viewed, removing confusion about the message they convey. The same shapes continue to be used today for the sets of Day Shapes used as marine navigational signals that are mandatory on certain-sized vessels.Distant Signal Ball, part of a Flagstaff signal set. A round woven cane ball, painted black, with a metal rod passing through the centre. The rod has a loop at each end, then a concave, octagonal metal plate that rests on the outside surface of the ball, serving as a washer. The rod has swivels at each end.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, distant signal, signal, maritime signal, ball signal, signal shape, flagstaff signal, signal station, masthead signal, communications, marine technology, signals, marine signals, flaghoists, international marine conference, international code of signals, signal codes, marine safety, signal flags, day shape, daymark, day symbol, navigation, warrnambool flagstaff, 1854, 1857 1931, 1887, 1897

This three-dimensional Distant Signal is part of a Flagstaff Signal set of ball, cone and drum shapes. It has been woven and then fabricated with strong metal swivel fittings and loops for suspending from a high point on a flagstaff at a signal station or on a ship’s masthead. The cane signal was constructed to withstand all weather and to be visible from a long distance. The gaps between the woven cane allow air to pass through, minimising possible swaying. Similar sets were made from rope or fabric. Warrnambool's Flagstaff was erected in 1854. Its primary use was to display visual signals that could convey messages between land and sea. It was also used to notify the local population of the approach of ships. One of the popular signalling codes in use in the early-to-mid 1800s was the Marryat’s Code but there were others in use as well; there was no one standard code. In 1857 the International Marine Conference adopted an International Code of Signals as a standard communications system for all vessels that could be understood in many different languages. The Normanby Advertiser reported on June 5th 1857 a query from the Post Master General as to whether the request of the Chief Harbour Master would be carried out, in that Warrnambool would receive a new flagstaff and a set of Marryatt’s signal flags. The Table of Codes was published, showing how to use combinations of these flags to send messages. The Code was revised in 1887 to cover situations where distance, light, wind and weather conditions affected the visibility of the flags and prevented clear communication. The first report of the International Code of Signals Committee of 1897 warned signalmen not to rely on ordinary semaphore flags and introduced a Distant Signal Code using either particular semaphore flags or the three-dimensional shapes of a ball, cone and drum that aligned with the semaphore flag shapes of a circle, pennant and square. International Code of Signals In 1931, after World War I’s experiences in using signal codes, the International Code of Signals conference in Washington revised and published the rules for the conduct of signalling. One of the changes was that “the use of the Distant Signals and of fixed semaphore was abandoned”. It is of interest to know that modern marine law in many countries insists that a set of Day Shapes must be carried onboard vessels of a certain size. These highly visible geometric shapes are used at sea in daylight to communicate messages between vessels. They are used in a similar way to the Distant Signals, in that different combinations of shapes represent different messages. The set of shapes includes a ball, cylinder, cone and diamond. The shapes are hung between the top of the vessel’s foremast and the front of the vessel. They are only coloured black and are about 1.5 metres high. The vertical line of shapes can mean messages such as Boat not under command, Fishing, and Under sail and power.Distant Signals were an important means of marine communication from the late 1880s to the early 1930s, including during World War I. They were an advancement to the International Shipping Codes and safety. The cane signals’ shapes appear to be the same from whatever direction they are viewed, removing confusion about the message they convey. The same shapes continue to be used today for the sets of Day Shapes used as marine navigational signals that are mandatory on certain-sized vessels.Distant Signal Cone, part of a Flagstaff signal set. A woven cane cone, painted black, with a metal rod passing through the centre and two crossed metal bars at the base. The central rod has a loop at the top and passes through the bars at the base, finishing in a metal loop. The rod has swivels at each end.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, shipwreck coast, marine navigation, marine communications, communication signal, lifesaving, ship at sea, day shape, masthead signal, day signal, day mark signals, marine technology, safety equipment, navigation equipment, marine day shape, day marker, cane day shape, signal cone, day signal cone, cone signal, cone day shape, distant signal, flagstaff signal, signal station, communications, signals, marine signals, flaghoists, international marine conference, international code of signals, signal codes, marine safety, signal flags, daymark, day symbol, navigation, warrnambool flagstaff, 1854, 1857 1931, 1887, 1897

This three-dimensional Distant Signal is part of a Flagstaff Signal set of ball, cone and drum shapes. It has been woven and then fabricated with strong metal swivel fittings and loops for suspending from a high point on a flagstaff at a signal station or on a ship’s masthead. The cane signal was constructed to withstand all weather and to be visible from a long distance. The gaps between the woven cane allow air to pass through, minimising possible swaying. Similar sets were made from rope or fabric. Warrnambool's Flagstaff was erected in 1854. Its primary use was to display visual signals that could convey messages between land and sea. It was also used to notify the local population of the approach of ships. One of the popular signalling codes in use in the early-to-mid 1800s was the Marryat’s Code but there were others in use as well; there was no one standard code. In 1857 the International Marine Conference adopted an International Code of Signals as a standard communications system for all vessels that could be understood in many different languages. The Normanby Advertiser reported on June 5th 1857 a query from the Post Master General as to whether the request of the Chief Harbour Master would be carried out, in that Warrnambool would receive a new flagstaff and a set of Marryatt’s signal flags. The Table of Codes was published, showing how to use combinations of these flags to send messages. The Code was revised in 1887 to cover situations where distance, light, wind and weather conditions affected the visibility of the flags and prevented clear communication. The first report of the International Code of Signals Committee of 1897 warned signalmen not to rely on ordinary semaphore flags and introduced a Distant Signal Code using either particular semaphore flags or the three-dimensional shapes of a ball, cone and drum that aligned with the semaphore flag shapes of a circle, pennant and square. International Code of Signals In 1931, after World War I’s experiences in using signal codes, the International Code of Signals conference in Washington revised and published the rules for the conduct of signalling. One of the changes was that “the use of the Distant Signals and of fixed semaphore was abandoned”. It is of interest to know that modern marine law in many countries insists that a set of Day Shapes must be carried onboard vessels of a certain size. These highly visible geometric shapes are used at sea in daylight to communicate messages between vessels. They are used in a similar way to the Distant Signals, in that different combinations of shapes represent different messages. The set of shapes includes a ball, cylinder, cone and diamond. The shapes are hung between the top of the vessel’s foremast and the front of the vessel. They are only coloured black and are about 1.5 metres high. The vertical line of shapes can mean messages such as Boat not under command, Fishing, and Under sail and power.Distant Signals were an important means of marine communication from the late 1880s to the early 1930s, including during World War I. They were an advancement to the International Shipping Codes and safety. The cane signals’ shapes appear to be the same from whatever direction they are viewed, removing confusion about the message they convey. The same shapes continue to be used today for the sets of Day Shapes used as marine navigational signals that are mandatory on certain-sized vessels.Distant Signal Ball, part of a Flagstaff signal set. A round woven cane ball, painted black, with a metal rod passing through the centre. The rod has a loop at each end, then a concave, octagonal metal plate that rests on the outside surface of the ball, serving as a washer. The rod has swivels at each end.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, shipwreck coast, marine navigation, marine communications, communication signal, lifesaving, ship at sea, day shape, masthead signal, day signal, day mark signals, marine technology, safety equipment, navigation equipment, marine day shape, day marker, cane day shape, signal ball, day signal ball, ball signal, ball day shape, distant signal, flagstaff signal, signal station, communications, signals, marine signals, flaghoists, international marine conference, international code of signals, signal codes, marine safety, signal flags, daymark, day symbol, navigation, warrnambool flagstaff, 1854, 1857 1931, 1887, 1897

This three-dimensional Distant Signal is part of a Flagstaff Signal set of ball, cone and drum shapes. It has been woven and then fabricated with strong metal swivel fittings and loops for suspending from a high point on a flagstaff at a signal station or on a ship’s masthead. The cane signal was constructed to withstand all weather and to be visible from a long distance. The gaps between the woven cane allow air to pass through, minimising possible swaying. Similar sets were made from rope or fabric. Warrnambool's Flagstaff was erected in 1854. Its primary use was to display visual signals that could convey messages between land and sea. It was also used to notify the local population of the approach of ships. One of the popular signalling codes in use in the early-to-mid 1800s was the Marryat’s Code but there were others in use as well; there was no one standard code. In 1857 the International Marine Conference adopted an International Code of Signals as a standard communications system for all vessels that could be understood in many different languages. The Normanby Advertiser reported on June 5th 1857 a query from the Post Master General as to whether the request of the Chief Harbour Master would be carried out, in that Warrnambool would receive a new flagstaff and a set of Marryatt’s signal flags. The Table of Codes was published, showing how to use combinations of these flags to send messages. The Code was revised in 1887 to cover situations where distance, light, wind and weather conditions affected the visibility of the flags and prevented clear communication. The first report of the International Code of Signals Committee of 1897 warned signalmen not to rely on ordinary semaphore flags and introduced a Distant Signal Code using either particular semaphore flags or the three-dimensional shapes of a ball, cone and drum that aligned with the semaphore flag shapes of a circle, pennant and square. International Code of Signals In 1931, after World War I’s experiences in using signal codes, the International Code of Signals conference in Washington revised and published the rules for the conduct of signalling. One of the changes was that “the use of the Distant Signals and of fixed semaphore was abandoned”. It is of interest to know that modern marine law in many countries insists that a set of Day Shapes must be carried onboard vessels of a certain size. These highly visible geometric shapes are used at sea in daylight to communicate messages between vessels. They are used in a similar way to the Distant Signals, in that different combinations of shapes represent different messages. The set of shapes includes a ball, cylinder, cone and diamond. The shapes are hung between the top of the vessel’s foremast and the front of the vessel. They are only coloured black and are about 1.5 metres high. The vertical line of shapes can mean messages such as Boat not under command, Fishing, and Under sail and power.Distant Signals were an important means of marine communication from the late 1880s to the early 1930s, including during World War I. They were an advancement to the International Shipping Codes and safety. The cane signals’ shapes appear to be the same from whatever direction they are viewed, removing confusion about the message they convey. The same shapes continue to be used today for the sets of Day Shapes used as marine navigational signals that are mandatory on certain-sized vessels.Distant Signal Cone, part of a Flagstaff signal set. A woven cane cone, painted black, with a metal rod passing through the centre and two crossed metal bars at the base. The central rod has a loop at the top and passes through the bars at the base, finishing in a metal loop. The rod has swivels at each end.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, shipwreck coast, marine navigation, marine communications, communication signal, lifesaving, ship at sea, day shape, masthead signal, day signal, day mark signals, marine technology, safety equipment, navigation equipment, marine day shape, day marker, cane day shape, signal cone, day signal cone, cone signal, cone day shape, distant signal, flagstaff signal, signal station, communications, signals, marine signals, flaghoists, international marine conference, international code of signals, signal codes, marine safety, signal flags, daymark, day symbol, navigation, warrnambool flagstaff, 1854, 1857 1931, 1887, 1897

In 1980 M.B.John was Council President. In 1980 the School of Arts moved into their new building, 1870 Founders Hall was financed - at a cost of $800,000 - from the proceeds of the SMB Centenary Appeal, and was completed late in 1980. Extensive work was carried out on the Student Residences and the former Education Department Hostel in Victorian Street. The amphitheatre adjacent to the eastern side of the Education Buildings was constructed, together with the nearby disabled ramp. Negotiations with the Shire of Buninyong were continued for access to the campus from the Green Hill Road. Following the creation by Act of Parliament in 1978 of the Victorian Post-Secondary Education Commission (VPSEC) amendments to the same Act early in 1980 made provision for the repeal of the VIC and SCV Acts. From mid-December 1980 these latter two bodies ceased to exist when the provisions for repeal of their Acts were proclaimed. The Victorian Institute of Colleges had been set up in 1965 to aid in the co-ordination and development of a number of non-university tertiary institutions that affiliated with it from 1965 on to become Colleges of Advanced Education. In taking up this role which had been spelt out in 1964 by the martin Committee, the VIC broke new ground in a whole range of operations. It became responsible for the physical development of new building programmes and new campuses from many of its colleges, for the procurement of operating funds from the Commonwealth, for the accreditation of new courses of study, for the first non-university degrees to be awarded in Australia and so on. The Former Ballarat Institute of Advanced Education (the tertiary division of the School of Mines) was affiliated with the VIC from the outset and its progress towards a new status, rapid growth and vastly improved physical resources was closely linked to and dependent upon the efforts of the VIC. The similar co-ordinating authority - The State College of Victoria - was established in 1973 to similarly foster the autonomous development of the former teachers colleges. its early work was highly influential in the transition of the Ballarat Teachers' College into the State College of Victoria at Ballarat. On the merging of the BIAE and the SCVB in 1976, the new college continued under the co-ordination of the Victorian Institute of Colleges. The major contribution made to the progress and stature of became the Ballarat College of advanced Education by both the VIC and SCV, and their Councils and officers, over the formative years of rapid change and evolution is acknowledged and recorded with appreciation. Such efforts by the two central authorities have markedly assisted in bringing the College to the present point where its accumulated experiences and traditions provide a sound basis on which it can confidently and responsibly exercise the greater autonomy gradually passing it. Purple soft covered book of 47 pages. Contents include: development of a Nurse education course, College organisational Structure, Role of Head of School, resignation of Norman Baggaley, appointment of R. Macgowan, opening of Business Resource Centre, Librarianship, resignation of M.J. Sandow-Quirk, E.A. Widdop, J. Leeuwenburg, Thelma Rungkat, Erica Myers, former Acting Head of School John Mildren elected to the Federal seat of Ballarat, Ray Watson, Resignation of A.C. Burrow, return of W.J. Vermeend, P.L. McCarthy, P.R. Calder, J.A. Fulcher, L.E. Taylor, L.J. McGrath, Teaching Resource Centreballarat college of advanced education, bcae, mt helen, mount helen, sandow-quirk, widdop, leeuwenburg, rungkat, myers, burrow, vermeend, mccarthy, calder, fulcher, taylor, victoria street

Steamer trunks (named after their location of storage in the cabin of a steamship, or "steamer") which are sometimes referred to as flat-tops, first appeared in the late 1870s, although the greater bulk of them date from the 1880–1920 period. They are distinguished by either their flat or slightly curved tops and were usually covered in canvas, leather or patterned paper and about (36 cm) tall to accommodate steamship luggage regulations. Steamer trunks were originally called a cabin trunk. An orthodox name for this type of trunk would be a "packer" trunk, but since it has been widely called a steamer for so long, it is now a hallmark of the style. A trunk, also known as a travel trunk, is a large cuboid container designed to hold clothes and other personal belongings. They are most commonly used for extended periods away from home. Trunks are differentiated from chests by their more rugged construction due to their intended use as luggage, instead of storage. Among the many styles of trunks, there are Jenny Lind, Saratoga, monitor, steamer or Cabin, barrel-staves, octagon or bevel-top, wardrobe, dome-top, barrel-top, wall trunks, and even full dresser trunks. These differing styles often only lasted for a decade or two and along with the hardware can be extremely helpful in dating an unmarked trunk. Although trunks have been around for thousands of years in China and elsewhere, the most common styles seen and referred to today date from the late 18th century to the early 20th century when they were supplanted in the market by the cost-effective and lighter suitcase. There were hundreds of trunk manufacturers in the United States and a few of the larger and well-known companies were Rhino Trunk & Case, C.A. Taylor, Haskell Brothers, Martin Maier, Romadka Bros, Goldsmith & Son, Crouch & Fitzgerald, M. M. Secor, Winship, Hartmann, Belber, Oshkosh, Seward, and Leatheroid. One of the largest American manufacturers of trunks at one point the Seward Trunk Co. of Petersburg, Virginia still makes them for school and camp, and another company Shwayder Trunk Company of Denver, Colorado would eventually become Samsonite. Another is the English luxury goods manufacturer H.J. Cave trading since 1839. Their Osilite trunk was used by such famous customers as T.E. Lawrence and Ruth Vincent Some of the better known French trunk makers were Louis Vuitton, Goyard, Moynat, and Au Départ. Only a few remain with the most prominent US company being Rhino Trunk and Case, Inc who probably manufacture more trunks than any company in the world.A snapshot into our social history regards how travel was undertaken over a hundred years ago and how people travelled so differently than today as they often packed for extended travel on ships. Travel then was so different with people having to pack a very large wardrobe of clothes to last for some time possibly for months overseas. The subject item looks like it was of military issue and was used for travel during the first world war by a military man from Victoria and was one of six similar trunks. This assessment is based on the type of locks used the trunk itself could have been made in America or Britain as the locks used in both countries came from American lock makers.Trunk wooden large covered with leather wood cleats and brass locks, also unreadable tableIn white paint "H Onvett, 6 of 7 and bottom right of front the number 6 (Owner)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, trunk

Steamer trunks (named after their location of storage in the cabin of a steamship, or "steamer") which are sometimes referred to as flat-tops, first appeared in the late 1870s, although the greater bulk of them date from the 1880–1920 period. They are distinguished by either their flat or slightly curved tops and were usually covered in canvas, leather or patterned paper and about (36 cm) tall to accommodate steamship luggage regulations. Steamer trunks were originally called a cabin trunk. An orthodox name for this type of trunk would be a "packer" trunk, but since it has been widely called a steamer for so long, it is now a hallmark of the style. A trunk, also known as a travel trunk, is a large cuboid container designed to hold clothes and other personal belongings. They are most commonly used for extended periods away from home. Trunks are differentiated from chests by their more rugged construction due to their intended use as luggage, instead of storage. Among the many styles of trunks, there are Jenny Lind, Saratoga, monitor, steamer or Cabin, barrel-staves, octagon or bevel-top, wardrobe, dome-top, barrel-top, wall trunks, and even full dresser trunks. These differing styles often only lasted for a decade or two and along with the hardware can be extremely helpful in dating an unmarked trunk. Although trunks have been around for thousands of years in China and elsewhere, the most common styles seen and referred to today date from the late 18th century to the early 20th century when they were supplanted in the market by the cost-effective and lighter suitcase. There were hundreds of trunk manufacturers in the United States and a few of the larger and well-known companies were Rhino Trunk & Case, C.A. Taylor, Haskell Brothers, Martin Maier, Romadka Bros, Goldsmith & Son, Crouch & Fitzgerald, M. M. Secor, Winship, Hartmann, Belber, Oshkosh, Seward, and Leatheroid. One of the largest American manufacturers of trunks at one point the Seward Trunk Co. of Petersburg, Virginia still makes them for school and camp, and another company Shwayder Trunk Company of Denver, Colorado would eventually become Samsonite. Another is the English luxury goods manufacturer H.J. Cave trading since 1839. Their Osilite trunk was used by such famous customers as T.E. Lawrence and Ruth Vincent Some of the better known French trunk makers were Louis Vuitton, Goyard, Moynat, and Au Départ. Only a few remain with the most prominent US company being Rhino Trunk and Case, Inc who probably manufacture more trunks than any company in the world.A snapshot into our social history regards how travel was undertaken over a hundred years ago and how people travelled so differently than today as they often packed for extended travel on ships. Travel then was so different with people having to pack a very large wardrobe of clothes to last for some times months overseas.Trunk rectangular with wood ribs and metal strips for reinforcing. Covered with canvas and has 3 locking devices. Also has leather handles at ends.On lock inscription Eagle lock Co.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

This three-dimensional Distant Signal is part of a Flagstaff Signal set of ball, cone and drum shapes. It has been woven and then fabricated with strong metal swivel fittings and loops for suspending from a high point on a flagstaff at a signal station or on a ship’s masthead. The cane signal was constructed to withstand all weather and to be visible from a long distance. The gaps between the woven cane allow air to pass through, minimising possible swaying. Similar sets were made from rope or fabric. Warrnambool's Flagstaff was erected in 1854. Its primary use was to display visual signals that could convey messages between land and sea. It was also used to notify the local population of the approach of ships. One of the popular signalling codes in use in the early-to-mid 1800s was the Marryat’s Code but there were others in use as well; there was no one standard code. In 1857 the International Marine Conference adopted an International Code of Signals as a standard communications system for all vessels that could be understood in many different languages. The Normanby Advertiser reported on June 5th 1857 a query from the Post Master General as to whether the request of the Chief Harbour Master would be carried out, in that Warrnambool would receive a new flagstaff and a set of Marryatt’s signal flags. The Table of Codes was published, showing how to use combinations of these flags to send messages. The Code was revised in 1887 to cover situations where distance, light, wind and weather conditions affected the visibility of the flags and prevented clear communication. The first report of the International Code of Signals Committee of 1897 warned signalmen not to rely on ordinary semaphore flags and introduced a Distant Signal Code using either particular semaphore flags or the three-dimensional shapes of a ball, cone and drum that aligned with the semaphore flag shapes of a circle, pennant and square. International Code of Signals In 1931, after World War I’s experiences in using signal codes, the International Code of Signals conference in Washington revised and published the rules for the conduct of signalling. One of the changes was that “the use of the Distant Signals and of fixed semaphore was abandoned”. It is of interest to know that modern marine law in many countries insists that a set of Day Shapes must be carried onboard vessels of a certain size. These highly visible geometric shapes are used at sea in daylight to communicate messages between vessels. They are used in a similar way to the Distant Signals, in that different combinations of shapes represent different messages. The set of shapes includes a ball, cylinder, cone and diamond. The shapes are hung between the top of the vessel’s foremast and the front of the vessel. They are only coloured black and are about 1.5 metres high. The vertical line of shapes can mean messages such as Boat not under command, Fishing, and Under sail and power.Distant Signals were an important means of marine communication from the late 1880s to the early 1930s, including during World War I. They were an advancement to the International Shipping Codes and safety. The cane signals’ shapes appear to be the same from whatever direction they are viewed, removing confusion about the message they convey. The same shapes continue to be used today for the sets of Day Shapes used as marine navigational signals that are mandatory on certain-sized vessels.Distant Signal Ball, part of a Flagstaff signal set. A round woven cane ball, painted black, with a metal rod passing through the centre. The rod has a loop at each end, then a concave, octagonal metal plate that rests on the outside surface of the ball, serving as a washer. The rod has swivels at each end.distant signal, flagstaff signal, signal station, masthead signal, communications, marine technology, signals, marine signals, flaghoists, international marine conference, international code of signals, signal codes, marine safety, signal flags, day shape, daymark, day symbol, navigation, warrnambool flagstaff, 1854, 1857 1931, 1887, 1897

August Rietmann 1877-1951 and his wife Frieda 1878-1942 leased the Box Cottage in 1917 and raised 2 children Stefanie 1918-2006, and William 1920– 1997. August was a Monumental Mason / Potter / Sculptor and he was employed at Corbens Ltd Clifton Hill, to make the War Memorials for many towns post WW1. August purchased the property 1935,and established a pressed concrete business using the cottage as a workshop and storeroom After August died in 1951, William, his son, continued to work in the business from the site until the land was sold to Lewis Co. Ltd Timber Merchants in 1970. Rietman's Landscaping Ltd , managed by William's family, moved to Bay Road Highett 1953 and later to Carrum. The original small, pioneer cottage was built in the late 1840s to early1850s, by an unknown pioneer. It was located on part of a 30 Acre allotment that was originally part of Dendy’s Special Survey granted in 1841. The doors and window sashes, (made of red deal joinery timber), as well as the brass locks and fittings, are from the original cottage, and were imported from England. The fire-place bricks are from the original cottage, and are sun-dried, (not kiln fired), and are hand-made. Convict marks can be seen on two bricks. There is a small display of external cladding shingles from the original pioneer cottage. These shingles were hand-split, and most likely made from locally collected timber The nails included in this display were used to fasten the shingles on the original cottage, and are also hand-made. The cottage was occupied by William Box and family from 1865 until 1914 when it was sold to August Rietman . The enamel nameplate, “Colonial”, on the wall of the cottage, was the name chosen for the original pioneer cottage by Mr August Rietman, when he purchased the property in around 1915, for 1200 Pounds approximately. In 1974 Mr Lewis, a timber specialist, found the dilapidated building on property he had recently purchased in Jasper Rd and suggested it be reconstructed and relocated. Moorabbin Council agreed and the cottage was rebuilt just about 250 metres from its original site. The cost of the rebuild was met by 'Victoria's 150th Committee, plus a small grant from the City of Moorabbin, and Mr Laurie Lewis donated much of the timber for the reconstruction. The re-constructed cottage plan has followed faithfully the original dimensions, and plan of the original pioneer cottage, and as many original items from that cottage’s long occupation have been incorporated. The photographs in Album 1 record the progress of the reconstruction from February 1984 to the First Public Open Day November 18th 1984After the death of Elisa Box in 1914 the house was leased to August Rietmann, a potter / sculptor who with his wife Fieda raised their family there 1917 - 1951. Stefanie Rennick nee Rietman lived at the house until she left to study teaching 1937. August's son, William Rietman and family managed Rietman's Landscaping Ltd after moving to Bay Road Highett 1953 and later to Carrum. The Lewis Timber Company Ltd purchased the land with The Cottage c1970. i) A laminated, black and white, photograph of August Rietmann and Family c1918 at Box Cottage, Ormond, Molly the house cow is in foreground ii) Colour photograph of Rietman's Landscaping Ltd. Bay Road Highett c 1990brighton, moorabbin, cottages, pioneers, ormond, colonial, mckinnon, dendy henry, box william, box elizabeth, reitman august, convicts lewis timber co. ltd., deam h, museums, box alonzo, smith a, rietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall, box cottage museum ormond, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921, dendy, rietman agust, convicts, macrobertson, war memorial

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, handmade. Tall slim Gallon style liquor bottle. Applied, double collar lip; square upper with flared lower. Neck has seams and shoulder seam from 3-piece mould. Body with horizontal ripples tapers inwards to base. Push-up base with pontil mark and embossed inscription. Tape over wire around mouth. Cork remnants inside mouth. Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, handmade. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper with flared lower. Push-up base with pontil mark and embossed inscription. Base is uneven, glass composition has imperfections.Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, handmade. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper and flared lower. Neck has seams and shoulder seam from 3-piece mould. Body tapers towards base. Push-up base with pontil mark and embossed inscription. Base is uneven. Mouth has remnants of the seal in it and tape remnants around its outside. Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, olive green glass, handmade. Tall slim, Gallon style liquor bottle. Applied double collar lip; square upper with flared lower. Neck is slightly bulged and there is a mould seam where shoulder joins base. Body tapers inward to base. Uneven base with deep push-up centre with small pontil mark. Scratches and imperfections in glass. Also encrustations on surface. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, olive green glass, handmade. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper and flared lower. Mouth has remnants of tape and wire seal. Mould seam around shoulder. Body tapers slightly inward to the base. Push-up base has pontil mark and is embossed in large letters. Base is uneven. Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from an unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, Tall slim gallon style. Applied double collar lip; upper is straight, lower is flared. Lip has bumps around the top. Neck has slight taper towards shoulder, which has a shoulder seam from the mould. Body tapers inwards towards base. Push up base has a pontil mark. Base is embossed.Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

TROVE : Argus (Melbourne, Vic. : 1848 - 1957), Monday 17 January 1859, page 7 TO the PHYSICIANS of AUSTRALIA -WOLFE'S SCHIEDAM AROMATIC SCHNAPPS, A superlative Tonic, Diuretic, Anti-Dyspepsic and invigorating Cordial. This medical diet-drink is manufactured soley by the proprietor at his distillery, in Schiedam, in Holland, expressly for medicinal purposes. It is the pure tincture of juniper, distilled from the best barley that can be selected in Europe at any cost. It is flavored and medicated, not by the common harsh berry, but by the choice botanical variety of the aromatic Italian juniper berry, whose more vinous extract is distilled and rectified with its sphirituous solvent, and thus it becomes a concentrated tincture of exquisite flavor and aroma, altogether transcendent in Its cordial and medicinal properties to any alcoholic stimulant now in use In the world. It has been submitted to all the first chemists and physicians in the United Slates, who endorse it over their own signatures as one of tho great essentials of the materia medica. It is now proscribed with great success In gravel, grout, rheumatism, obstruction of the bladder and kidneys, dyspepsia, whether acute or chronic, in general debility, sluggish circulation of the blood, inadequate assimilation of food, and exhausted energy, are acknowledged by the whole medical faculty and attested in their highest written authorities. Put up in quart and pint bottles, enveloped In yellow paper, with the proprietor's name on the bottle-, cork, and label. For sale by all the respectable druggists and merchants. UDOLPHO WOLFE WILKINSON BROTHERS and Co., sole agents for Australia. Depots at Melbourne and Sydney. TROVE : Farmer and Settler (Sydney, NSW : 1906 - 1955), Tuesday 30 March 1915, page 2 TRADING WITH UDOLPHO WOLFE. At the Sydney summons court on Wednesday morning, Laurence Edward Moss and Lawrence David Phillips were charged with having attempted to trade with the enemy by means of a letter addressed and posted to Udolpho Wolfe Company, Hamburg, Germany. There was a second information alleging that on or about December 7 last they attempted to trade with the enemy by means of a cable addressed and trans-mitted to Wolsey, New York. At the request of Mr. Campbell, K.C., who appeared for the defence, an adjournment to April 7 -was granted. Bail was allowed, each in £200, with a surety in £200. TROVE : Age (Melbourne, Vic. : 1854 - 1954), Wednesday 19 November 1941, page 4 WOLFE'S Aromatic SCHNAPPS Wolfe's Schnapps is now distilled in Australia from the original formula of Udolpho Wolfe. It remains, as before, a beverage of unique medicinal properties — Appetising, Refreshing, , Stimulating — as good for women as for men. -Wolfe's 'Schnapps for your health's sake FOR VICTORY-buy War Bonds Now . W.B.157.13 Olive green glass bottle for stopper seal, square in section, slightly tapering toward base, text embossed on three sides, circular ring embossed inside impressed circle on base.Side 1. : 'UDOLOPHO WOLF'S'. Side 2 : 'SCHIEDAM'. Side 3 : 'AROMATIC SCHNAPPS'. Base : an embossed ring inside a round impressed into the square base.schnapps, schiedam, gin, udolpho wolfe

TROVE : The Australian Women's Weekly (1933-1982), Wednesday 22 January, 1964, p.32, Advertising. Dexsal, containing 34% pure medicinal glucose for nausea . sick headache . mild indigestion . over indulgence . in food or drink . biliousness . acidity . heartburn . periodic upsets. Directions one or two teaspoons in a tumbler of cold water and drink during effervescence. May be taken as often as desired. Keep tightly capped. Net contents 4 ozs. Reg. VIC 2102, 758. Manufactured by Drug Houses of Australia. For your family - pick the simplest way to settle 'upset tummy' - double-acting DEXSAL The simplest - and safest - because it's formulated wholly and solely to settle upset tummy, nothing else. It contains no pain killer, which can so often set up an excess-acid reaction in the stomach. The lively, sparkling drink of Dexsal dissolved in water is safe. Simply-formulated Dexsal acts in two ways: brings quick, direct relief to upset tummy discomforts or sick feelings and, simultaneously, restores your lost energy. That's because Dexsal contains 34 % medicinal glucose - the energy-builder that quickly restores your natural vitality. Take care of your family, when upset-tummy strikes, with the lively Dexsal drink - the simplest way to settle tummy upsets. (N.B. Children love the fresh tingly-taste of Dexsal) Double-acting Dexsal quickly relieves: . Ordinary indigestion . Sick headache . Heartburn . Nausea . Acidity . Periodic upsets . Biliousness . Over-eating or . Car and travel sickness drinking Safe for alt the family. And especially recommended for expectant mothers. DEXSAL A product of Drug Houses of Australia. Drug Houses of Australia Ltd. (DHA) was established in 1930 after the amalgamation of several proprietary medicine companies, including Felton Grimwade & Co. and Duerdin & Sainsbury Ltd. In 1974 the decision was made, after suffering from enormous financial losses, to break up the company and sell it. Several sections of the company became Felton Grimwade & Bickford Pty Ltd. Timeline of amalgamations 1855 - 1867 Youngman McCann & Co, 1863 - 1930 A. M. Bickford & Sons, 1867 - 1930 Felton Grimwade & Co, - 1930 Taylor-Elliotts Ltd, ? - 1930 Duerdin and Sainsbury Ltd, ? - 1930 Elliott Brothers Limited, - 1930 Rocke Thompsitt, 1863 - 1930 A. M. Bickford & Sons, 1867 - 1930 Felton Grimwade & Co.' 1902 - 1930 Felton Grimwade & Bickford Ltd, 1930 - 1974 Drug Houses of Australia Ltd (DHA), c. 1974 - Felton Grimwade & Bickfords Pty Ltd. Large clear amber glass bottle, rectangular in section with angled corners, wide neck. Embossed text on large side panel, numeral on corner panel near base, monogram, letters and numerals on base.On side panel 'DEXSAL REG. TRADE MARK'. On corner panel near base '4'. On base the letter 'g' or numeral '9' on its side, AGM monogram, 'F397' over '4' , A space then the letter 'M'.dexsal, medicine, drug houses of australia

The photographer, Ann Gervasoni, was in Frommelles for the reburial ceremony for 5 previously unidentified Australian soldiers. "AFTER almost 94 years, Ballarat soldier Private Frederick Rawlings, and a long-standing family mystery, can finally be laid to rest. Private Rawlings was one of 5533 Australian soldiers killed in the bloodiest conflict in Australian history, the World War I Battle of Fromelles, France. He was one of 250 men buried in a mass grave at Pheasant Wood after the battle of July 19 and 20 in 1916. In the past two years, a joint Australian and British project has aimed to positively identify the remains of those soldiers buried at the site. This week, the Federal Government announced Private Rawlings was one of 75 men who had been identified by name. Also on the list were Corporal Leslie Hart, born in Clunes, and Lance Corporal Allan Bennett, born in Ballarat, both of whom joined the army in Western Australia. All but one of the 75 soldiers have now been re-buried, with full military honours, at a specially constructed cemetery near the battle site. Private Rawlings' grand-niece, Maureen Holding, of Mannibadar, got a call to confirm the news on Tuesday night. 'It's just quite incredible after all these years and huge loss of life, they've actually identified him,' Mrs Holding said yesterday. Last year, Mrs Holding and her brother, Leo Rawlings, gave DNA samples to the Australian Army to help with the identification process. But until seeing a newspaper article more than 20 years ago, they did not know Private Rawlings or his younger brother, Corporal Sydney Rawlings, had even been in the war. On Anzac Day 1988, The Courier published a photo of Cpl Sydney Rawlings and excerpts from a letter from an army chaplain that informed Ballarat family members of Cpl Rawlings' death in Northern France in 1918. 'About two years later, my husband, Malcolm, found in a tin of rusty nails and shoe buckles belonging to my late dad, a set of war medals,' Mrs Holding said. They were inscribed with Sydney's Rawlings' name, and checks of family records and The Courier story confirmed the connection. In 1991, this newspaper published a list of soldiers who had memorial trees in Ballarat's Avenue of Honour. Next to Sydney's name was that of Frederick Rawlings.(http://www.thecourier.com.au/story/543125/remains-of-ballarat-soldier-killed-in-france-during-wwi-identified/, accessed 16/04/2014.)A number of colour digital images showing the grave of Frederick Rawlings of Ballarat in the Pheasant Wood Cemetery, Frommelles, France.world war one, fromelles, pheasant wood, frederick rawlings, allan bennett, leslie hart

Climax geared locomotive No. 1694 in active service on special occasions - stored at Emerald Station A Miraculous Survivor Climax locomotive No.1694 is a miraculous survivor of a rare breed of steam locomotive. For about 100 years from the mid-1850s sawn timber was carted from Victorian sawmills to the nearest railway station by timber tramway. These tramways were generally very rough, steeply graded, sharply curved, and of narrow gauge. Many had wooden rails, and horses provided haulage. The better ones used steam locomotives. In all about fifty steam locomotives are known to have worked on Victorian timber tramways. These locomotives were usually somewhat peculiar - made to cope with arduous, rough conditions, rather than speed. Climax locomotive No.1694 is the only one of these locomotives to survive intact. It was built in 1928 by the Climax Manufacturing Company, Corry, Pennsylvania, USA, for the Forests Commission of Victoria. The distinctive feature of the Climax locomotive is that the cylinders do not directly connect to the driving wheels. Instead they drive a cross shaft near the centre of the locomotive. From there the drive is transmitted to the small driving wheels through rotating shafts, universal joints, and bevel gears. The driving wheels are mounted in two four-wheel bogies so that they can easily follow sharp curves in the track. None of these features are found in normal steam locomotives. The result is a locomotive that is extremely powerful for its size, and that will cope with sharp curves and steep grades with ease. But this is at the cost of speed, Climax locomotive No.1694 is just about flat-out at 13 km/h (8 mph). Climax Locomotive Built in 1928 for the Forests Commission of Victoria and painted all-over black with the name CLIMAX painted on the sides of the cab in white block letters, this locomotive was issued to the Tyers Valley tramway which branched off the Moe to Walhalla line at Collins Siding. This locomotive was withdrawn from service in 1949 following the closure of the tramway and in 1950 it travelled from Tyers Junction to Collins Siding to Erica where it remained stored until 1965. Loaned to the Puffing Billy Preservation Society for its Steam Museum, it was taken to Menzies Creek in 1965 where it remained until 1982 when the Emerald Tourist Railway Board bought it and transferred it to Belgrave for restoration. It was returned to service for special use on the Belgrave to Gembrook line in 1988 painted in its original all-over black livery, except that the word “Climax” on the sides of the cab was now painted in the style of the Climax Manufacturing Co., a style that this locomotive had never carried.Historical - Industrial railway - Forests Commission of Victoria, Timber Logging Climax Locomotive Climax geared Steam locomotive made of steel and wrought iron Climax 1694climax locomotive works, climax, geared steam locomotive, puffing billy, climax locomotive no. 1694, steam locomotive

Friendly Societies originated in the industrial areas of the United Kingdom. The first society in Victoria was formed in 1839 and by 1913 more than half of the Victorian population was insured by Friendly Societies in some fashion. The societies were financed by Members' subscriptions and offered health benefits and other welfare services, before these services were provided by the government. Doctors were paid by the societies to treat members free of charge, and Dispensaries were established to provide members with subsidised quality medicines. The Sunshine and District Friendly Societies Dispensary was established on the 1st of March 1930 with a membership of 896, and it was located in Sun Crescent Sunshine. The membership grew to 1052 within 4.5 years, and the number of prescriptions dispensed in the 6 months prior to November 30,1935 totalled 10,535. The Dispenser was Mr. C. H. Semmens. Most Friendly Societies operated democratically with office bearers changed regularly to prevent power cliques. The Sunshine Dispensary appears to have operated in the same way as the societies that owned it. The Advocate of 10 July 1936 reports that the seven newly elected office bearers or delagates were from the Friendly Societies; A.N.A., M.U.I.O.O.F., P.A.F.S., and G.U.O.O.F. The names of all the seven people can be found on the Honour Board, indicating that they each have served at least one term as President of the Sunshine Dispensary. The health professions and the Labour Governments of the 1940's wanted to see the involvement of Friendly Societies in health care broken. The Commonwealth Free Medicine Plan appears to have been drawing customers away from Friendly Societies Dispensaries in general. The Sunshine Dispensary placed several advertisements in the Sunshine Advocate during late 1950 urging members to remain loyal to it. By the 1980's the increase in entrepreneurial clinics and the availability of take away medicine helped to vastly diminish the involvement of Friendly Societies in health care provision. The 1936 Sunshine Advocate refers to the Sunshine and District United Friendly Societies Dispensary, with the same office bearers as the Presidents on the Honour Board but on which the 'United' is missing from the name of the Dispensary. The 1950 advertisements were placed by Sunshine U.F.S. Dispensary of 23 Sun Crescent. It is thought that all three names refer to the same business, but the writer stands to be corrected. The above is a compilation of information sourced from Sunshine Advocates published in January and July 1936, and in September, October and November 1950. It also draws on an article written by Elizabeth Willis and published online by the the Department of History (University of Melbourne), and on an article written by Mr. Bill Kelly of the Australian Friendly Societies Pharmacies Association, and also on an article by Museum Victoria Australia. Corrections to what has been written are welcome from interested readers.The Honour Board provides a historical record of the Presidents that served 61 terms on the Board of the Sunshine and District Friendly Societies Dispensary. It also provides a reminder that when a government does not adequately look after the welfare needs of its citizens, the people can band together to find ways of helping each other. The Sunshine Dispensary no longer exists, and a more recently established Community Pharmacy which operated in Hampshire Road could not compete against the discount pharmacies that have taken over. These new pharmacies sell a wide range of profitable product lines, as well as dispensing traditional prescription medications.Brown stained wood particle board with picture frame type edging. The board has six straight sides however it is not typical hexagon shaped. The top is composed of three straight short edges to give an almost rounded edge to an otherwise oblong shaped bottom section. On the board in gold coloured lettering are the names of 'brothers' and 'sisters' who served a total of 61 terms as PRESIDENTS of the SUNSHINE AND DISTRICT FRIENDLY SOCIETIES DISPENSARY, which was established on the 1st of March 1930. Eight of the men served more than one term with BRO. I. MILLER serving four terms, and BRO. F. RICHER serving three. The three women SISTER. I. REWELL, SISTER. C. JOHNSON, and SISTER. M.S. ARMSTRONG served one term each. There is no indication of when each person served, but it is believed that the term length was around six months and that the list is in chronological order. This conclusion results from seeing that BRO. W. ROONEY is the 11th listed President, and that the Sunshine Advocate of 10 July 1936 states that he was elected as the new President.sunshine and district friendly societies dispensary, honour board, 1st march 1930, 1/3/1930, sunshine u.f.s. dispensary, semmens, rooney, miller, richer, armstrong, rewell, johnson

The donation was accompanied by the following letter from the donor: "Hi. I found these in with family photos. Taken by family as Mamie McLeod was living in Fellows Street, Kew, so would be near there. Retain (or discard) as you see fit." [Donor's name and address withheld from public view]. To gain an insight into the flood levels at Kew, it is worth reading newspaper accounts of the event. The Age published an article - Valuable Gardens Destroyed at Kew - on 25 September 1916: "VALUABLE GARDENS DESTROYED AT KEW. From the heights of Studley Park, Kew, a splendid view of the flood waters can be obtained, and yesterday afternoon, despite continuous rain, crowds of citizens assembled there to witness the spectacle. There is a vast stretch of water some 300 or 400 yards broad, above the foot bridge connecting Gipps-street, Collingwood, and Studley Park. The river is only about 3 feet from the top of the embankment connecting with the ramp of the bridge on the Studiey Park side. When the upper llood waters come down it is almost a certainty that tne embankment will be submerged and the bridge rendered impassible. Below the bridge the waters again stretch out, and have submerged all the low-lying land on the Collingwood side and invaded the back premises ot the Kodak Co., Phoenix Biscuit Factory, a tannery adjoining thereto, the Shamrock Brewery, and Chinese gardens in the vicinity. At Walmer-street-bridge, at the end of Studley Park, the low-lying land on the Kew side is covered with water to the depth of many feet. Tlie land in question is owned in a great part by Mr Frank Lavers who haa gone in for intense culture on a pretty liberal scale on both the slopes of the hill and on the river flat. On the latter he is cultivating many acres of asparagus, and has at a considerable cost spent three years in preparing the ground and installing an irrigation system, reticulated from the Yan Yean water supply. This year the asparagus was put down, and the plants were in a promising condition. Tlie flood waters are now flowing fast over the land. The crop is ruined, and three years' work and expenditure destroyed. Mr. Laver's private residence fortunately is high above flood level, but two houses he owns off Young-street have been flooded out. Having been warned in time, the tenants removed their furniture hefore the water came down to Mr. Laver's residence, where they themselves have been given accommodation in the meantime. All the river flats in East Kew are under water. One or two low-lying houses have been flooded. Chipperfield's boat shed at Willsmere is nearly covered, and some Chinese gardens in the vicinity are several feet under water."This, and the other three photographs donated of floods in Kew are believed to be the earliest in the collection. Together with our original MMBW River Yarra map showing flood levels, these items, when compared allow researchers to gain a visual perspective of the extent of the flood in 1916. Black and white photograph of flooded trees in Kew with rising dry ground in distance.Inscription on reverse in pencil: "Flood River Yarra Kew Vic"river yarra, kew, floods 1916

The donation was accompanied by the following letter from the donor: "Hi. I found these in with family photos. Taken by family as Mamie McLeod was living in Fellows Street, Kew, so would be near there. Retain (or discard) as you see fit." [Donor's name and address withheld from public view]. To gain an insight into the flood levels at Kew, it is worth reading newspaper accounts of the event. The Age published an article - Valuable Gardens Destroyed at Kew - on 25 September 1916: "VALUABLE GARDENS DESTROYED AT KEW. From the heights of Studley Park, Kew, a splendid view of the flood waters can be obtained, and yesterday afternoon, despite continuous rain, crowds of citizens assembled there to witness the spectacle. There is a vast stretch of water some 300 or 400 yards broad, above the foot bridge connecting Gipps-street, Collingwood, and Studley Park. The river is only about 3 feet from the top of the embankment connecting with the ramp of the bridge on the Studiey Park side. When the upper llood waters come down it is almost a certainty that tne embankment will be submerged and the bridge rendered impassible. Below the bridge the waters again stretch out, and have submerged all the low-lying land on the Collingwood side and invaded the back premises ot the Kodak Co., Phoenix Biscuit Factory, a tannery adjoining thereto, the Shamrock Brewery, and Chinese gardens in the vicinity. At Walmer-street-bridge, at the end of Studley Park, the low-lying land on the Kew side is covered with water to the depth of many feet. Tlie land in question is owned in a great part by Mr Frank Lavers who haa gone in for intense culture on a pretty liberal scale on both the slopes of the hill and on the river flat. On the latter he is cultivating many acres of asparagus, and has at a considerable cost spent three years in preparing the ground and installing an irrigation system, reticulated from the Yan Yean water supply. This year the asparagus was put down, and the plants were in a promising condition. Tlie flood waters are now flowing fast over the land. The crop is ruined, and three years' work and expenditure destroyed. Mr. Laver's private residence fortunately is high above flood level, but two houses he owns off Young-street have been flooded out. Having been warned in time, the tenants removed their furniture hefore the water came down to Mr. Laver's residence, where they themselves have been given accommodation in the meantime. All the river flats in East Kew are under water. One or two low-lying houses have been flooded. Chipperfield's boat shed at Willsmere is nearly covered, and some Chinese gardens in the vicinity are several feet under water."This, and the other three photographs donated of floods in Kew are believed to be the earliest in the collection. Together with our original MMBW River Yarra map showing flood levels, these items, when compared allow researchers to gain a visual perspective of the extent of the flood in 1916. Panoramic view, believed to be looking north towards Fairfield from the Zig-Zag Bridge on the River Yarra. The inscription on the reverese identifies it as taken before 1920.Inscription on reverse in ink "(pre 1920) Flood from Zig-zag bridge Yarra River, Kew Vic."river yarra, kew, floods 1916, zig-zag bridge

The donation was accompanied by the following letter from the donor: "Hi. I found these in with family photos. Taken by family as Mamie McLeod was living in Fellows Street, Kew, so would be near there. Retain (or discard) as you see fit." [Donor's name and address withheld from public view]. To gain an insight into the flood levels at Kew, it is worth reading newspaper accounts of the event. The Age published an article - Valuable Gardens Destroyed at Kew - on 25 September 1916: "VALUABLE GARDENS DESTROYED AT KEW. From the heights of Studley Park, Kew, a splendid view of the flood waters can be obtained, and yesterday afternoon, despite continuous rain, crowds of citizens assembled there to witness the spectacle. There is a vast stretch of water some 300 or 400 yards broad, above the foot bridge connecting Gipps-street, Collingwood, and Studley Park. The river is only about 3 feet from the top of the embankment connecting with the ramp of the bridge on the Studiey Park side. When the upper llood waters come down it is almost a certainty that tne embankment will be submerged and the bridge rendered impassible. Below the bridge the waters again stretch out, and have submerged all the low-lying land on the Collingwood side and invaded the back premises ot the Kodak Co., Phoenix Biscuit Factory, a tannery adjoining thereto, the Shamrock Brewery, and Chinese gardens in the vicinity. At Walmer-street-bridge, at the end of Studley Park, the low-lying land on the Kew side is covered with water to the depth of many feet. Tlie land in question is owned in a great part by Mr Frank Lavers who haa gone in for intense culture on a pretty liberal scale on both the slopes of the hill and on the river flat. On the latter he is cultivating many acres of asparagus, and has at a considerable cost spent three years in preparing the ground and installing an irrigation system, reticulated from the Yan Yean water supply. This year the asparagus was put down, and the plants were in a promising condition. Tlie flood waters are now flowing fast over the land. The crop is ruined, and three years' work and expenditure destroyed. Mr. Laver's private residence fortunately is high above flood level, but two houses he owns off Young-street have been flooded out. Having been warned in time, the tenants removed their furniture hefore the water came down to Mr. Laver's residence, where they themselves have been given accommodation in the meantime. All the river flats in East Kew are under water. One or two low-lying houses have been flooded. Chipperfield's boat shed at Willsmere is nearly covered, and some Chinese gardens in the vicinity are several feet under water."This, and the other three photographs donated of floods in Kew are believed to be the earliest in the collection. Together with our original MMBW River Yarra map showing flood levels, these items, when compared allow researchers to gain a visual perspective of the extent of the flood in 1916. Small black and white photograph of flooded trees in Kew.Inscription on reverse in ink "Flood R. Yarra Kew Vicriver yarra, kew, floods 1916

Kennedy and sons, Roselea Dairy operated in Kew (<1930-1945>). In 1945 Thomas Kennedy, Michael Kennedy and Patrick John Kennedy traded as Kennedy and sons, Roselea Dairy at 80 Pakington St, Kew. (Victorian Government, 07 December 1945). Tom Kennedy, Jnr, and his wife, Lucy, lived at 109 Pakington St Kew. Tom Kennedy Jnr. died 02 November 1963. Lucy Kennedy died 28 November 1987. "CONTEMPT OF COURT. MILK-CARTER GUILTY. Breach of an Injunction. A Supreme Court writ has been issued by Thomas Kennedy, sen., Thomas Kennedy, jun., Patrick John Kennedy, and Michael Kennedy, trading as Kennedy and Sons, Rose Lea Dairy, against Gordon Allberry Shepherdly, of Barnard street, North Kew, milk-carter, claiming an injunction and damages. Plaintiffs carry on business at Pakington street. Kew, and Melville street, Hawthorn, and they claim In their writ an injunction restraining the defendant from soliciting or endeavouring to obtain the custom of people who were customers of plaintiffs when Shepherdly was employed by them under an agreement dated March 13 1928. Plaintiffs also claim damages. Mr Read (instructed by Messrs. Moule, Hamilton, and Derham) appeared for plaintiffs before Mr. Justice Macfarlan in the Practice Court yesterday, to ask for an order for the committal of Shepherdly to prison, or alternatively, for an order that plaintiffs be at liberty to Issue a writ of attachment against him for contempt of court in soliciting or endeavouring to obtain the custom of plaintiffs' customers. The affidavits set out that Shepherdly was employed by plaintiffs from March I3, 1928. until June 6. 1930. An Interlocutory injunction had been granted pending trial of the action for a permanent injunction. Shepherdly, who appeared in person yesterday, said that he had a sick wife and two children. He had not served any of the customers referred to since the granting of the injunction. He had passed them over to another man for whom he was working. Mr Justice Macfarlan - In doing that you have committed a breach of the injunction, and I have no alternative but to order that you be sent to gaol. I will make an order that you be committed to prison until further order of the Court. I will direct, however, that the order be not executed until Tuesday next. If you can then satisfy the Court that you have ceased to serve, or take any part in serving, the customers of Kennedy and Sons, the order will not be executed. (The Argus, 11 July 1930) Rare, if damaged milk bottle from an historic Kew dairyMilk bottle produced for and retailed by Kennedy & Sons Kew. The dairy operated under various names, and at one stage was described as the Rose Lea Dairy. The dairy was situated on the corner of Eglinton and Pakington Streets, Kew. "Kennedy & Sons / Kew / Nursery Milk / This bottle is the property of T.Kennedy & Sons, Kew/ and cannot be legally used by others."kennedy's dairy, kennedy and sons, dairies - kew (vic), milk bottles - kew - melbourne - victoria, thomas kennedy, michael kennedy

On the 12th of March 1891 documents show Ann Myer’s application for a dairy. A small addition to the front right side of the house can be seen in the photo of Ann and her two sons. The dairy remained until the house was demolished in 1969. Mary Dowling’s sisters Ann and Eliza appear on the shipping list to Australia arriving in Melbourne as assisted immigrants on the ‘Hotspur’ on the 25th June 1855. Their ages were recorded as 19 and 20 years. Ann Dowling’s records contains receipts for the rent of land in the parish of Kororoit in 1865. In 1867 Ann married Henry Miers at St Patricks Cathedral on the 28th May at age 26 years. Other spelling of the family name have been spelt, Miers, Myres, Mears and eventually became Myers. Henri came from Prussia but little information about his life before he married Ann. Ann and Henri had a small house built c1860 near Ryans Creek also known a Myers Gully. Henry was a labourer. According to notes in Edna’s research the original house consisted of two rooms and was built by Russell, and more rooms were added later built by Paddy Burns, the grandfather of Nick Burns. Additions were made to extend the south veranda and north further skillion rooms were added.Ann and Henri had four sons, Henry born in 1870, Thomas in 1872, George in 1874 and Frederick in 1877. By the December of 1886 tragedy struck again when father Henry fell from the top of a hay wagon at Darlingsford when the driver Ralph Parkinson failed to warn him the horses where about to move. Henry asked to be taken home where he died the next day. Henri Miers was aged 51 years at his death. The Parkinson family paid compensation for causing the death of Henry. Ralph Parkinson died shortly after. The Myers boys received their education at Melton State School. Their handwriting is testament to the benefit of receiving an education to grade 8. Frederick the youngest son gained his Merit Certificate on the 10th of October 1889. They also received books inscribed by the Head Teacher. Ann was illiterate and was aged about 15 years when she arrived in Australia and was dependent on youngest son Frederick. Although at a disadvantage she managed her legal affairs. Frederick Myers married Martha Watson in 1908. Thomas Myers died in November 1909 Ann Dowling Myers died in October 1924. She lived in the family home with Martha Fred, grandson Fred and granddaughters Marjorie and Edna who was aged six at her death. Her son Henry died in 1950 followed by George in 1954 and Frederick in 1963. Ann with two of her children and turkeys at the front of their housepioneer families, local identities

This collection of three photos of the Australian information Technology Award (AITA) won by the Royal Australian Survey Corps (RA Svy) AUTOMAP 2 computer-based map production system, was taken in 1984 at the Army Survey Regiment, Fortuna, Bendigo. The following article appeared in the ARMY Newspaper on Thursday 21st February 1985. ‘In computerised map production. Survey soldiers lead the world. BENDIGO: Army surveyors have been put on the map as world leaders in computerised map production following the Australian information Technology Awards. RA Svy won the Computer Assisted Draughting – Mapping section for its Automap II System which has created considerable interest among overseas defence experts. The award for the digital mapping system was accepted by OC Air Survey Sqn, MAJ Rob John, who said it was a great morale-booster for the soldiers of the Bonegilla (sic)* -based Army Survey Regiment. "Setting up a state-of-the-art system like Automap II. is an enormous task, " he said. "We started in August 1983 and it's only recently that we have achieved production results. "We were all very pleased to have our efforts recognised in this way. “Of course, credit must also go to the Intergraph Corporation for manufacturing the system and carrying out most of the development." RA Svy is responsible for producing all of Australia's maps used for defence purposes. Its topographical maps have a scale of 1:50,000 or 1:100,000 although Automap II has the capability of producing smaller scale maps - down to 1: 2,000,000. Automap II consists of three computers and three sub-systems: input, raster scanning, and graphic edit. The input sub-system has eight stereo plotters, two interactive graphic workstations and a system manager workstation. The stereo plotters use superimposition optics to digitise features from aerial photographs. It incorporates a voice recognition system so the operator can simply say "House", "Windmill", etc; and the relevant feature will be incorporated in the digital picture. Individual map separations are scanned and converted by the raster scanning sub-system to a digital raster image. This image is then converted to a graphics file in Intergraph format.’ *Note – the Army Survey Regiment was located in Bendigo, not Bonegilla as incorrectly stated in the article. The article appears on Page 137 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. Additional history of the AUTOMAP 2 system with historic photographs is covered in pages 119, 137-143 and 157 of the 'Mapmakers of Fortuna’ book. See item 6223.23P for additional history and photographs of the AUTOMAP 2 system.This collection of three photos of the Australian information Technology Award (AITA) won by the Royal Australian Survey Corps (RA Svy)’s AUTOMAP 2 computer-based map production system, was taken in 1984 at the Army Survey Regiment, Fortuna, Bendigo. The photographs are printed on photographic paper and are part of the Army Survey Regiment’s Collection. The black and white photographs were scanned at 300 dpi. .1) - Photo, black & white, 1984, AITA Award sitting between the dual screens of an AUTOMAP 2 Graphic Edit Workstation. .2) - Photo, black & white, 1984, MAJ Job Johns (centre) and two of Intergraph Corporation IT engineers proudly hold the AITA Award next to an AUTOMAP 2 Graphic Edit Workstation. .3) - Photo, black & white, 1984, The AITA Award displayed on a pedestal in the Army Survey Regiment Officers Mess. .1P to .3P –No personnel are identified. ‘AITI Award to AUTOMAP II 1984’ annotated on cover sleeve. royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna

September Meeting (Newsletter No. 152, Sep. 2003) This meeting is one in an occasional series where we get together a panel of speakers to talk about a particular aspect of Eltham's history, its character or its people. As has been the case for past speaker panels, we have organised a buff et dinner to precede the meeting and details of this are given below. Eltham has a well-known tradition of building with mud brick, second hand materials and other innovative or uncommon materials. Although this trend dates mainly from the 1930 's there are examples from the pioneer days of Eltham. Part of the Brocksopp house at Eltham South is an 1850' s mud brick construction by George Souter. But the alternative building tradition in Eltham really began at Montsalvat in the 1930's. Justus Jorgensen's building complex of earth construction, stone and items from wreckers' yards inspired a number of builders and owner builders, particularly in adopting mud brick or adobe as their building medium. The tradition continues today with our area remaining home to a relatively high proportion of builders using these alternative materials. The panel we have selected to talk on this subject are either builders in the Eltham tradition or have had close contact with builders of the past. The panel will be introduced by Russell Yeoman who will talk briefly about George Stebbing, an early Eltham builder responsible for many of our remaining historic buildings, but known for traditional buildings of his time rather than the later buildings which give Eltham its particular character. The panel members are as follows:- • John Pizzey, architect. John will speak on the work of Alistair Knox designer and builder in mud brick and the person who has most contributed to the environmental building traditions of Eltham. • Peter Jarvis who will talk about his own work as a builder in mud brick and his views on traditional and modern construction methods. • Leigh Wykes, a present day builder of stone houses, will talk about his own work in the district and its relevance to Eltham traditions. • Diana Bassett-Smith will talk about her experience with owner-builders constructing their earth houses in Eltham in the 1950's. Pise and mud brick presented a cheap building material provided that you could do it yourself or persuade your friends to help. Prior to the meeting there will be a buffet dinner of casseroles and other courses prepared by some of our members. We will be starting at 6.00pm with dinner scheduled for 6.30. Harry Gilham will be providing drinks, including wines from his personally made collection. Cost of the dinner will be $10 which can be paid on the night. However, for catering purposes we need to know numbersCompact audio cassette Sony EF 90 Type I / IEC I Cassette labelled "Eltham Builders Historical" Converted to MP3 file; 100MB, 1:18:57 alistair knox, audio cassette, audio recording, building construction, diana bassett-smith, eltham, john pizzey, leigh wykes, peter jarvis, society meeting

This image is a reproduction of an 1899 original depicting the 'Williams Good Luck Mine' on the Mopoke Reef (also called 'Morepork Gully') in the Dingle Ranges, approximately three miles from Beechworth. A large opening to a mine can be seen behind the men in the photograph, with a wheeled cart on a track leading to the men's position, where the soil and rocks have been hauled away. This photograph interestingly contains dogs alongside the miners. While dogs have been recorded as deterrents to thieves in the Victorian goldfields, these dogs appear as companions to these men. Following the discovery of gold at Beechworth in 1852, rushes quickly followed at surrounding creeks and gullies in the district. In the late nineteenth and early twentieth centuries, small syndicates of miners continued to work old or abandoned quartz reefs, often persisting without the assistance of heavy machinery to remove the large amounts of rock, in order to obtain yields at ever greater depths. The group of miners in this photograph are Mr. Roger Williams and Sons, who revived operations at the ‘Old Good Luck’ mine on the Mopoke Reef in the Dingle Range near Beechworth around 1892, working the site for more than two decades. An emigrant from Cornwall with experience in the tin mining industry, 19 year old Roger Williams senior sailed to New Zealand in 1840, then to Australia where he spent time in the Bendigo Gold Fields before settling in Beechworth in the early 1860s. Mr Williams senior worked on various mining activities in the district, including the Rocky Mountain Tunnel project. Conversant with the character of gold-bearing reefs in the area, the syndicate dug an eight hundred foot tunnel, digging down as far down as two hundred feet with little capital save their labour, to connect and provide better working access to the mass of reefs and veins in the vicinity. Progress was hampered by poor air quality charged with fumes from dynamite and large quantities of rock had to be crushed to obtain payable yields. The Victorian Goldfields are filled with ruins and remnants of the area's rich mining history, ranging from small alluvial diggings to the remains of huge mining companies. Site names often changed several times throughout the nineteenth and twentieth centuries. Some sites were abandoned and forgotten, others were worked continuously over many decades. The names of mines were often repeated at different locations throughout the Victorian Goldfields. For example, there is a Mopoke Gully heritage mine near Fryers Creek, Victoria. 'Mopoke' is a common onomatopoeic name for Morepork and Australian Boobook owls.This image has historical, social and research significance for patterns of emigration during of the Victorian Gold Rush, and the historical, social and environmental impacts of mining at Beechworth at the turn of the nineteenth and twentieth centuries. As gold became scarce and government support and large company investment waned, poor hard-working miners laboured intensively to make a living through periods of high unemployment. This image can be compared and studied alongside other historical mining photographs and objects in the Burke Museum Collection. It has potential to improve our understanding of miners working conditions and the shifting character of mining in the Beechworth district.Sepia coloured rectangular photograph printed on gloss photographic paper mounted on card. Obverse: Williams/ Good/ Luck Reverse: A02498/ 1997. 2498/ Good Luck/ Mine/ 1899/ Mopoke. burke museum, beechworth museum, beechworth, gold fields, gold rush, victorian gold rush, gold ming history, colonial australia, australian gold rushes, mining technology, beechworth historic district, indigo gold trail, migration, indigo shire, good luck gold mine, victorian goldfields, mining syndicates, gold fever, quartz-mining, small-scale mining, old good luck mine, mopoke gully, quartz reefs beechworth