This specimen is a Brown Goshawk juvenile. The Brown Goshawk is widely distributed across Australia, Wallacea, New Guinea, New Caledonia, Vanuatu, and Fiji. In Australia, it predominantly inhabits eucalypt forests, woodlands, farmland, and urban areas, while in the Pacific, it is primarily associated with rainforest environments. Historically, it was also present on Norfolk Island until around 1790, potentially representing an undescribed subspecies. However, the limited material available—consisting of a single historical skin and nine subfossil bones—precludes confirmation through scientific analysis. This specimen was originally identified as a Nankeen Kestral and is catalogued as such in the original Public Library and Burke Museum catalogue. The specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This specimen exhibits distinctive plumage compared to its adult counterparts. It has a streaky appearance, with a buff to pale rufous base color on its underparts adorned with bold, dark brown streaks. The upperparts are brown, with a slightly mottled or scalloped effect due to pale feather edges. Its eyes are yellow and legs are a pale yellow. The wings are broad and rounded, and the tail is long and barred. Identification swing tag with catalogue page number reads: 4. / Nankeen Kestrel - / See Catalogue,/ Page 2. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, birds of prey, goshawk, ornithological, nankeen kestral

The Kew Historical Society’s collection includes a wide range of leisure objects. Many of the items are European-made, generally of British origin, however there are a number that were made for the Australian market by Australian manufacturers. In the Nineteenth and Twentieth centuries, there were large numbers of games produced for children and adults. These included: arcade games, board games, playing cards and puzzles. A representative sample, many now rare survivors, can be found in the collection.Children's table game. Probably made in Germany c.1926. On the box is "Ges.Gesch" which is German for trademark registered. The box includes patterns and multicoloured glass marbles. The aim of the game is to arrange the beads in the holes of the pattern. The box pictures four children playing the game. Rules: BASIC RULES There can be two aims to the game - the first to clear the board of all the pieces and the second to try and position the pieces into a specific pattern. The playing surface is a special board and set of pegs or marbles made of ivory, bone, wood and later plastic. The traditional French board is octagonal and has 37 holes to accomodate the same number of pegs. the traditional English board is circular and has 33 holes or hollows, usually to accomodate the same number of marbles (33). Often there is a channel running around the outer edge to hold eliminated pieces. Some games required all the pieces, others only a certain number. The pieces are positioned before the start of the game.Box cover: "Gloria Mosaic. Ges.Gesch"gloria mosaic, games and puzzles

Clothing. Woman's black ribbed silk bodice, fully ;lined with black cotton fabric. High round neckline with stand up lined lace collar (4cm), fastened left of centre at front with two metal hooks and eyes. Front lining fastened with twelve metal hooks and eyes from throat to waistband. Waistband (5.5cm) of horizontal pleated fabric. Small pocket (8cm X 6cm) attached to inside lining on LHS. Waistband has 7 cm cross over tab section at centre front fastened with three metal hooks and eyes. Centre front opening is edged with black lace and tucked spotted voile, fastened with three metal hooks and eyes.A wide shawl collar across the shoulders extends and gathers into the waistband at front and back. This forms a V shaped opening at the front exposing the lace and voile beneath.The inner and outer edges of the collars have decorative knots. The centre of the collars have 18cm pin tucks from the shoulder seam at the front and 11 cm pin tucks at the back.At centre back. a panel of black lace runs from the collar to the hem of the waistband. Two gathered fabric tails are attached at centre back to hang below the hem of the waistband. Decorative lace as stitched across the shawl collar at the shoulders seams, ending with a decorative knot and cotton tassell (7cm). Set in Leg 'o'Mutton sleeves are gathered around the arm holes and gathered into a band of fabric with decorative lace and knots. The narrow lower section has a turned over hem edged with decorative knots and black lace. Each sleeve has a 5cm slit at the wrist. The bodice has fifteen bone casings spaced across the garment, from the waistband. These are stitched in place with yellow cotton. Some internal seams finished with yellow cotton. Hand stitched. Word ''GLEN" is written on one bone casing. Temporary darts have been stitched on both side seams with red cotton to reduce the size.costume, female, woman's black ribbed silk bodice.

From Neurological Society of Australia. Wooden case with key. Contents (12 parts) include trephines, various sizes; perforator; key; ebony trephine handle; Hey skull saw; elevator; steel forceps; brush; lenticular; five pointed rugine. 18th or early 19th century.TREPHINE & SKULL SAW IN CASE OF SURGICAL INSTRUMENTS: EIGHTEENTH OR EARLY NINETEENTH CENTURY. This set of surgical instruments contains, in a wooden case covered with shagreen: two trephines and a perforator , with a key to remove the trephine centring pins a detachable ebony handle a Hey skull saw with the name BLACKWELL an elevator a pair of steel forceps a bone or ivory brush to clean the trephines a lenticular a 5-pointed rugine. The trephines are conical, with slight tapering to prevent over- penetration; they are approximately 17 and 20 mm in diameter. Each has a sharp centring point, which 5 can be removed. Hand trephines are operated with one hand, being rotated like a gimlet, by alternating pronation and supination of the forearm, which also exe1ts downward pressure. The skull saw was used where trephining was difficult, as in some depressed fractures; it was popularised by William Hey (1736-1819) of Leeds, though described by earlier writers. Hey, a Yorkshireman, studied in St George's Hospital, London, but worked with great distinction in the Leeds General Infirmary. The lenticular, a curious instrument seen in many eighteenth century illustrations, was used to smooth the margins of bone defects. The rugine could be used to scrape granulations. The design of the trephines and of most of the other instruments strongly suggests an English origin, probably in the eighteenth century. A very similar trephine is figured by the London surgeon Percivall Pott2 in 1779. Bennion l [ists three instrument makers named Blackwell, none earlier than 1817. Most of the instruments have been plated, presumably with nickel, at a date that must be much later. The nickel plating shows little sign of wear.

This afternoon dress belonged to Clara Johnstone Miller (nee Bell, 1866-1910). Clara was the only daughter of Mr James Bell, a councillor of the Shire of Leigh (today a part of Golden Plains Shire) and owner of Woolbrook Homestead in Teesdale, near Geelong. In 1888, Clara married prominent businessman, racehorse owner, racing identity and pastoralist Septimus Miller (1854-1925). Septimus was the sixth of seven children born to Henry 'Money' Miller and Eliza Miller (nee Mattinson). 'Money' Miller was a well known financier and politician and reputedly one of Australia's wealthiest people in his time. In 1889, Clara and Septimus moved into the house 'Cantala' in Dandenong Road, Caulfield. They had one child, Gwendoline Stewart Miller, who died in 1902 at the age of thirteen of diabetes - a largely untreatable condition at the time (insulin would not be discovered until 1921). Clara died in 1910, aged only 44. Septimus subsequently married Helen (nee Henderson), with whom he had a son, Ronald (1915-1990). The Millers were buried in the Brighton General Cemetery in a large Gothic-style vault. Upon Clara's death, Septimus sent much of her clothing and Gwendoline's to her mother Mary Bell. Some of these items were passed down to two of Clara's nieces, Miss Mary Bell and Mrs Lois Lillies, who donated them to BHS around 1973.A salmon (pale orange pink) corded silk afternoon dress with orange beaded embellishments, consisting of a bodice (.1) and skirt (.2) from c.1890. The bodice features a high standing collar with triple pleated bone silk chiffon trim along the top line, under the chin. This same chiffon is also secured in two pieces gathered and secured under the collar and and at the waist adding volume over the bust line and partially obscuring the jacket closing. The chiffon is secured at the side into the main fabric of the bodice by the beaded embellishment. The pink seed beads are sewn in lines of five beads one after the other creating a diagonal design that tapers from the shoulder to the waist. The bodice is boned around the front and back and secured down the centre font by nineteen hook and eyes and additional cotton tapes. Further beading details the bottom centre front and base line of the bodice. The shoulders have been repaired with replacement fabric to match, from our records it appears that the repair work was performed in circa 1974 but no record exists of the original shoulder design and if the repair was an exact copy of the original. The repaired shoulders feature a small frill around the shoulder yoke and top of the arm. The sleeve is fitted and three quarter finishing just below the elbow. The base of the sleeve is also trimmed with the pink bead design and bone three pleat chiffon trim. The back of the bodice features shaped panels contouring the jacket neatly in at the waist and then splitting and splaying out over the fullness of the skirt. The skirt appears to have been floor or ankle length held at the waist by a wide waistband. The skirt openings have been altered from the original currently featuring two openings secured by press studs. The skirt is gathered to the waistband at front and back creating fullness. The lower part of the skirt features the same pink bead embellishment and additional beaded flowers and diagonal point edge detail.clara miller, woolbrook, septimus miller, henry 'money' miller, gwendoline miller, cantala, 1890s fashion, caulfield, brighton general cemetery

Human beings appear to have been making their own ceramics for at least 26,000 years, subjecting clay and silica to intense heat to fuse and form ceramic materials. The earliest found so far were in southern central Europe and were sculpted figures, not dishes. The earliest known pottery was made by mixing animal products with clay and baked in kilns at up to 800°C. While actual pottery fragments have been found up to 19,000 years old, it was not until about ten thousand years later that regular pottery became common. An early people that spread across much of Europe is named after its use of pottery, the Corded Ware culture. These early Indo-European peoples decorated their pottery by wrapping it with rope, while still wet. When the ceramics were fired, the rope burned off but left a decorative pattern of complex grooves on the surface. The invention of the wheel eventually led to the production of smoother, more even pottery using the wheel-forming technique, like the pottery wheel. Early ceramics were porous, absorbing water easily. It became useful for more items with the discovery of glazing techniques, coating pottery with silicon, bone ash, or other materials that could melt and reform into a glassy surface, making a vessel less pervious to water. https://en.wikipedia.org/wiki/CeramicThe discovery and development of ceramics in numerous shapes, form and materials, revolutionised the world.White ceramic container, glazed with single groove around circumference near lipNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ceramics

Wedgwood was founded on 1 May 1759 by Josiah Wedgwood and in 1987 merged with Waterford Crystal to create Waterford Wedgwood, an Ireland-based luxury brands group. After the 2009 purchase by KPS Capital, Wedgwood became part of a group of companies known as WWRD Holdings Ltd, an acronym for "Waterford Wedgwood Royal Doulton." In 1765, Josiah Wedgwood created a new earthenware form which impressed the then British Queen consort Charlotte of Mecklenburg-Strelitz who gave permission to call it "Queen's Ware"; this new form sold extremely well across Europe. Wedgwood developed a number of further industrial innovations for his company, notably a way of measuring kiln temperatures accurately and new ware types Black Basalt and Jasper Ware. Wedgwood's most famous ware is jasperware. It was created to look like ancient cameo glass. It was inspired by the Portland Vase, a Roman vessel. Wedgwood had increasing success with hard paste porcelain which attempted to imitate the whiteness of tea-ware imported from China. High transportation costs and the demanding journey from the Far East meant that the supply of chinaware could not keep up with increasingly high demand. In 1812 Wedgwood produced their own bone china which, though not a commercial success at first eventually became an important part of an extremely profitable business. An oval white china platter with blue flowers and fruit. Back is marked WEDGWOOD CHRYSANTHEMUMOn base ; CHRYSANTHEMUM / i / W / 7 / WEDGWOOD china, pottery, crockery, england, moorabbin, bentleigh, cheltenham, kitchenware, wedgwood josiah

Human beings appear to have been making their own ceramics for at least 26,000 years, subjecting clay and silica to intense heat to fuse and form ceramic materials. The earliest found so far were in southern central Europe and were sculpted figures, not dishes. The earliest known pottery was made by mixing animal products with clay and baked in kilns at up to 800°C. While actual pottery fragments have been found up to 19,000 years old, it was not until about ten thousand years later that regular pottery became common. An early people that spread across much of Europe is named after its use of pottery, the Corded Ware culture. These early Indo-European peoples decorated their pottery by wrapping it with rope, while still wet. When the ceramics were fired, the rope burned off but left a decorative pattern of complex grooves on the surface. The invention of the wheel eventually led to the production of smoother, more even pottery using the wheel-forming technique, like the pottery wheel. Early ceramics were porous, absorbing water easily. It became useful for more items with the discovery of glazing techniques, coating pottery with silicon, bone ash, or other materials that could melt and reform into a glassy surface, making a vessel less pervious to water. https://en.wikipedia.org/wiki/CeramicThe discovery and development of ceramics in numerous shapes, form and materials, revolutionised the world.Plain cream ceramic bowl with flat bottom inside. Shiny glaze fades to flat texture towards base. Possibly hand thrown pottery. No backstamp. Bad crazing and staining.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ceramics

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This bowl is one of several objects in the Haeusler Collection concerning early childhood that provide insight into family and home life in early twentieth century Wodonga. The Hauseler Collection bowl was manufactured by Empire Porcelain Co (Ltd) in Stoke on Trent, Staffordshire, England. Empire Porcelain Co (Ltd) was established in 1896 and manufactured bone china and earthenware until the company's closure in 1967. It can be dated to the first half of the twentieth century, likely c.1910s-1920s. Staffordshire became a centre for ceramic production in the 17th century due to the local availability of pottery materials including clay, salt, lead and clay. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history.Child's ceramic bowl with black print. The print in the centre of the bowl features a child with a wind instrument and three dancing cats. The outer rim of the bowl features a black circular print of roosters, dogs, cats, geese, rabbits and squirrels. The bottom of the bowl is embossed with details of manufacture. "ENGLAND" is embossed on bottom of the bowl via ceramic mould/ "EP.Co Stoke on Trent" is embossed on the bottom of the bowl in black via print. tableware, haeusler collection, children, ceramic, social history, domestic, family

A baleen whale has hard bristly baleen that hangs from its upper jaw inside its mouth instead of teeth. Baleen is made from a protein called keratin, just like human hair and fingernails, and its colour can vary between species, from black to yellow or white. The whale uses the tough, flexible baleen like a sieve to catch its food, filtering the small sea creatures out of the sea water it releases from its mouth. In the19th Century, whales were hunted for the products that could be made from their bodies, such as oil for lubricating machinery, soap making, lamps, heaters and fuel for the lighthouse lights. The flexible baleen was used for whip handles, carriage springs and umbrella ribs. It was also used for the skirt hoops, hat ribs, and rigid ‘stays’ in tightly fitting bodices to enhance their figures. The Southern Right Whales, as well as Blue Whales and Humpback Whales, are baleen whales. The Southern Rights annually visit the ocean off the southwest coast during the breeding season. In the early 1800s whalers hunted along this coastline in their dangerous pursuit of money for the precious cargoes of whale oil and bones. The population of these large animals dwindled quickly and by the late 1840s the whaling industry dwindled. Whaling recommenced from the 1940s to the 1980s when the whale products were used to make margarine and dog food. The baleen sample has been used to educate people about whaling and about the properties of baleen. The baleen sample is significant for its association with 19th century women's fashion. It helps to understand how garments were supported to shape a woman's figure. The baleen sample represents a period when whales were hunted and killed to provide income and products for for the local settlers and for the export industry.Baleen sample from a whale's jaw. Its black shiny hard yet flexible surface is slightly rippled and textured. One end is fringed and the other and a smooth cut edge. The colour varies in places, with stripy brown colouring. flagstaff hill maritime museum and village, great ocean road, shipwreck coast, baleen, whalebone, baleen whale, keratin, 19th century, whaling industry, women's fashion, stays, bodice, women's figures, fashion, clothing, whale oil, baleen colour, whale hunting, whale products, southern right whale, blue whale, humpback whale, southwest victoria, whalers, whale bones

John Griffin’s wool classing exercise books from 1941-1943 when he was a student at the Gordon Institute in Geelong. John and his father John Henry Griffin owned a farm in Dunkeld and bred fine merino wool. One year they topped the wool sales figures for the area, in the late 1940s. There are four books in total. One book is on the topic of Veterinary Science and is from 1941. It contains information on topics such as birth and early lamb life, bone structure and other internal organisms of a sheep, such as the heart. Another book is on Wool Classing with topics such as wool scouring, dipping, shearing and micron counts. The third book is on general shearing shed knowledge. This includes a diagram for rolling a fleece, correct method for stamping a wool bale and branding abbreviations. The final book is on the History the Merino Sheep. It is a long form essay answer booklet. The Gordon institute and wool are synonymous with one another, the first class in wool sorting was offered at the Gordon in 1891. With much of the wool clip sent directly to England at this time, The Gordon's focus soon shifted to wool classing and marketing. By the 1930s, The Gordon's wool school was renowned as the state's wool industry training centre. Early specialist short courses were offered around Victoria to assist wool growers in preparing their clip for market, with modules on sheep breeding and pasture development included in the programs. Anne Griffin’s, John’s daughter, donated the exercise books to the National Wool Museum in 2021. Book 1 is predominately blue circular cover with cream background. Middle of book has pink highlighter mark. Reverse of book has an Arithmetical Table and a Multiplication Table in a blue ink on cream paper. It also has four black ink markings Book 2 is predominately blue circular cover with cream background. Book has red tape across the spine. Reverse of book has an Arithmetical Table and a Multiplication Table in a blue ink on cream paper. Book 3 is predominately blue plaid cover with cream background. Middle of book has pink highlighter handwriting which has been crossed with the same colour, leaving the text unreadable. Reverse of book has an Arithmetical Table and a Multiplication Table in a blue ink on cream paper. Book 4 is predominately blue diagonal striped book with cream background. Middle of book has small picture of Australia. Reverse of book has an Arithmetical Table and a Multiplication Table in a blue ink on cream paper. Book 1. Front cover: “All Schools” / EXERCISE BOOK / NAME Jack Griffin Grade Gordon Institute School of Technology(?) / Approved by the / Education Department Back cover. Reverse. ARTHMETICAL TABLES / (Numerous, see media) Book 2. Front cover: 2nd & 3rd / “All Schools” / EXERCISE BOOK / Name Jack Griffin / Grade 2 / School the Gordon / Approved by the / Education Department Back cover. Reverse. ARTHMETICAL TABLES / (Numerous, see media) Book 3. Front cover: Embassy / EXERCUSE BOOK / Name John Griffin / Grade 1 / School (?) / APPROVED BY THE EDUCATION DEPARTMENT / Back cover. Reverse. ARTHMETICAL TABLES / (Numerous, see media) Book 4. Front cover: EXERCISE / APPROVED BY EDUCATION DEPT. / BOOK / NAME Jack Griffin / GRADE 3 / SCHOOL Gordon Back cover. Reverse. ARTHMETICAL TABLES / (Numerous, see media) gordon institute geelong, wool classing, 1940s sheep farming, note book, study, student

Clothing. Beautiful deep cream silk bodice, fully lined with cream tulle/net. Elbow length sleeves have a semi-circle of embroidered silk, and an embroidered tulle ''flounce'', edged with cream cord - 17 cms long. The bodice has seven pin-tucks, angled from the shoulder to the waistline on each side of the front and back. Between the pin-tucks at centre front panel is an extensive cream silk, floral embroidery. A rounded neckline at front and back, is in-filled with embroidered tulle - small 1 cm diameter flowers, in a 3 cm diameter circle, defined by 12 small (3mm) embroidered circles. The tulle infill extends to a 7 cm high stand-up collar-supported by seven plastic ''bones''. The collar also features the same, circular, floral embroidery, and is also edged at the throat with cream cording. The bodice while in good condition, has been cut at the hemline, and a 10.5 cm strip of fabric has been added but unfinished. 18 metal hooks, and hand-stitched loops fasten the back of the bodice. Sleeves are an extension of the bodice.costume, female, cream silk and tulle bodice

Embroidered silk, with a swirl type embroidered pattern. Wide, and deep square neckline. Back opening with nine metal hook and eye fasteners. Seven 16cm long bones encased in ribbon - three in the front, and two either side of the back opening. The wide square neckline is edged with 4.5cm wide fine lace - (two narrower pieces stitched together). Five .5cm wide tucks border the front and back neckline. The sheer embroidered tulle sleeves have a silk panel under arm. Shoulders and sleeve cuff are trimmed with a feature of artificial roses and leaves - roses 2.5cm diameter. A 17cm frill extends from the back opening, passing under the armhole, across the tucked border at the neckline to the back opening of the left side. This frill is also trimmed with the artificial roses at 10cm intervals. The bands of lace that trim the neckline also border this frill. Stiffened circular shaped shields are stitched under the armhole, and on the adjoining under arm of the sleeve. Pink chenille type tufts interspersed on embroidered silk overlay. PART 0F WEDDING OUTFIT 11400.781; 782On the lining panels of the left sleeve is marked FLIRT, Made in U.S.A. 1 2 2.costume, female, cream silk wedding bodice

The Royal District Nursing Service (RDNS) Altona Centre was situated at Blackshaws Road, Altona. This photograph is a pictorial record of the staff at Altona Centre in the 1990s.Gradually over the years, Melbourne District Nursing Service (MDNS), later known as Royal District Nursing Service (RDNS) from 1966 when they received Royal patronage, opened Centres throughout the Melbourne Metropolitan area and outer suburbs with Heidelberg Centre opening in 1971. Their Trained nurses (Sisters) left from these Centres each morning to carry out their nursing visits in a specific area (district), taking any sterilized equipment needed with them. They returned at the end of the day to write up their patients nursing histories, clean and reset any equipment used ready for sterilization, and contact other medical and community personal as necessary. The Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), later known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing, and to people of many cultures, throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care their Trained nurses (Sisters) provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Poliomyelitis, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary.The coloured photograph shows 29 female staff of the Royal District Nursing Service (RDNS), Altona Centre. The rear and centre rows of staff are standing and the front row of staff are kneeling. They are outside a grey brick building with a flat roof. A white sign is on the right hand upper corner of the building and has the words, written in blue capital letters, "Royal District Nursing Service Altona Centre". Part of a window can be seen beneath this. Part of two other windows can be seen in the centre and to the left of the building. Most Sisters are wearing RDNS uniforms, some with a short sleeve white with a blue pattern dress and a red belt. Others with a white with pattern blouse and dark blue skirt, and some have a red sleeveless jumper over their uniform, and some are wearing a dark blue cardigan or long sleeve dark blue jumper. Three staff are wearing day wear, one with a purple blouse and black skirt, another with a white blouse and pale blue skirt and the third wearing a white blouse, brown cardigan and bone slacks.. royal district nursing service, rdns, rdns centre, rdns uniform

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

TROVE : Herald (Melbourne, Vic. : 1861 - 1954), Friday 31 October 1884, page 4 J SCOTT'S EMULSION 0F1 PURE COD LIVER OIL And HYPOPHOSPHITES of LIME and SODA. , Almost as PALATABLE as MILK. Possessing the combined virtues of these two valuable remedics in their fullest degree More easily digested and assimilated than in the crude form, and especially desirable for sickly, wasting children, and persons with feeble digestive power, as A REMEDY for CONSUMPTION, A REMEDY for WASTING DISEASES of CHILDREN, A REMEDY for SCROFULA, A REMEDY for ANAEMIA and GENERAL DEBILITY, A REMEDY for COUGHS, COLDS, and THROAT AFFECTIONS; In fact all diseases where there is an inflammation of the Throat and Lungs, a Wasting of the Flesh, and a Want of Nerve Power, nothing in the world equals this palatable EMULSION. lt is prescribed and endorsed by the best physicians in the various countries of the world, who will attest these facts. For sale by all chemists. TROVE : Age (Melbourne, Vic. : 1854 - 1954), Tuesday 11 September 1951, page 5 WARNING TO PARENTS Build your family's resistance to colds and 'flu with Scott's Coughs and colds undermine a child's health. and lay him wide open to disease. You can't protect youngster against exposure to colds, but you can build their resistance with a course of Scott's Emulsion. Scott's Emulsion supplies just the elements a child need to ensures straight, sturdy body, strong bones, steady nerves and sound lungs. It is a dependable safeguard against colds and coughs. It's just as good for all the family, , For babies under 12 months old give SCOTT'S CLINIC EMULSION without Hypophosphites Scott's Emulsion NATURE'S OWN FOOD TONIC. SE34 Tall clear aqua tinted glass bottle for stopper seal, rectangular in section, impressed panels on three sides, circle impressed on base, text embossed on all.Front : 'SCOTT'S EMULSION', Sides : COD LIVER OIL', 'WITH LIME & SODA'. Base : '1367', 'K', 'B & Co LTD'.cod liver oil, lime & soda, knottingley, scott & browne, scotts emulsion

Instituted by King George V in 1919 to mark the end of World War I and record the service given. The British War Medal 1914-20 was awarded as follows: Navy: 28 days mobilised service in Australia, at sea or overseas during prescribed periods. Army: Entered theatres of war during specified periods or left places of residence and rendered approved service overseas. Mercantile Marine: Awarded to the men and women of the Mercantile Marine who served at least six months at sea between 4th August 1914 and 11th November 1918. Licensed Pilots, Fishermen and crews of Pilotage and Lighthouse Authorities' Vessels, and of Post Office Cable Ships were also eligible. Those eligible also included members of women's organisations; persons on the staffs of military hospitals and members of recognised organisations who handled sick and wounded; and members of other duly recognised or other authorised organisations as specified in medal regulations. The qualification period of service between 5 August 1914 and 11 November 1918 was later extended to cover post-war mine clearance and service in Russia during 1919 and 1920. The ribbon has a wide central watered stripe of orange, flanked by two narrow white stripes, which are in turn flanked by two black pin-stripes, further flanked by two outer stripes of blue. The colours have no particular significance. The medal is cupro-nickel with the effigy of George V on the obverse. The reverse has an image of St George on horseback trampling underfoot the eagle shield of the Central Powers, and a skull and cross-bones, the emblems of death. Above this is the risen sun of victory. The years 1914 and 1918 are contained on the outside edge medal.GEORGIVS V BRITT OMN:REX ET IND:IMP: 2186 FRASER, Thomasbritish war medal, medal, first world war, world war one, ww1

Collection of Bendigo business and calling cards with attached list of 48 names (a). Jas. Malcolm & Co Propty; J.B.Harcourt; C.Fleetwood Sharve; C. Fleetwood Sharve Tas.; Clara E. Plancto; International Correspondence Schools; Dr. Paul Jones;Allan W. Davies. (b) Jas. Malcolm & Co Propty; Mr. Frank G. Jones; Bendigo Dairy; Bendigo and Northern District Contributory Fund; T.S.Goodisson; Mr. John Fredinnick; Mr. C.J.D.Furey; Mrs. Patrick Joseph Burke. (c)Mr. Waldermar Levy; C.Button; Mrs. T.H.Morgan; Mrs. W. Goodman; Miss M.Gauler; W.J.Stephens; J.A.Johnstone; Wallace & Bramley. (d) Dr. David Crombie; Reg. F. Buck; H.V.Trench. John Hardie; Mr. A. E. Brown; J.M.Leech. Mrs. G.J. Sarvaas. (e) The Bendigo Advertiser; Mrs Clive D. Lay; H.C.Calwell; Mr. H.R.Parnaly; C.J.Kirkby. Mr. W.J. Bone; Arthur B. Challen; Miss N. Oldfield. (f) Mrs. W.H.Iser; Mr. & Mrs. Magnus Cohn; Mr. Leonard V. Lansell; Mrs. H. Curnow; Honeychurch & Pitcher; Mr. H. Curnow; C.A.Roxburgh; Rev. C.R.Miles,person, individual, curnow collection

Articles for Royal Historical Society (Bendigo Branch) Newsletter December 1972. 1. ''Bells in and around Bendigo - No 3 - The Hand Bells of St Pauls Church, Bendigo'' - mention of Mr Bill Robertson; Dr J B Pounds; Bendigo Bell Ringers Club; Whitechapel Bell Foundry, London; Odd Fellows Hall; St Pauls Bell Band; Dr A M Bush. 2. ''A sight worth seeing'' - description of the rolling down from the top of Mr Alexander of a large boulder (for entertainment!) in 1860 (extract from the Bendigo Advertiser); mention of Mr Plowright, Talbot Hotel, Harcourt; Mr Wheatcroft.3. ''Memories of Old East Bendigo'' - original draft with alterations in handwriting; mention of 71 Strickland Rd; Government Powder Magazine; Purdon family; the ''Irish Castle'' (at one time the Charlston Hotel); Mr Sullivan; Mr Burns; Pritchard and Chamberlain (brewery); Solomons Hill; Day's asphfelt (sic) and bone works; Marist Brothers 'Jounerate ' (sic)??; Hines Flower Nursery; Mr Hamson MP; Carlile Bros skin and hide store; Kitchen's Soap factory; ''Green Gates'' Hotel; Bendigo Fertiliser Works;bendigo, history, city history. the goldfields.

Clothing. Woman's black silk brocade bodice. High round neckline with full length front opening fastened with 13 metal hooks and eyes. Bodice fully lined with black cotton fabric and shaped in at waistline. Seven casings for boning - two on each side of front, one on each side seam and one at centre back (18cm X 1.3 cm). Casings reinforced with bright yellow cotton stitching. Cotton tape casing at hemline at waist. Long straight set in sleeves extending to a rounded shape over the back of the hand.Cross over front outer layer fastened with three hooks and eyes at the top and one at the waist. Panels of black lace run from shoulders to waist on either side of a centre insert panel (12 cm X 15cm) with five horizontal strips of velvet ribbon. Below the insert are three 7-9cm wide black lace ruffles with khaki green embroidery (Jabot effect). The back has a deep V shaped insert of vertical pin tucks and black lace, from across the shoulders to centre back. Pin tucks also on either side of front neckline.costume, female, woman's black silk brocade bodice

Owned by Jean Young - born Falkirk, Scotland, 1811. Believed to be listed in Falkirk Census in 1851. Married William Hill. Possibly sailed in 'Tempest'. Died at Dunolly, Victoria.Black paper mache sewing work box. Lid inlaid with abalone. General design has been highlighted in gold paint. The box is lined with pale lilac and white satin, lid unlined. Top panel and bottom edge decoratively shaped - slightly domed lid and front panel decorated in a similar manner to lid. Box contains needles, threads, buttons, thimbles and a pin cushion as follows:- Peri-Lusta .03 Crystal Rayon Spun Mending Thread .04 Flora McDonald Needle Packet .0 |Packet of Needles W.Woodfield & Sons .06 Mauve satin needle case .07 Tortice tatting schuttle .08 Round wooden box with 5 pearl buttons and 2 cloth covered buttons .09 Square wooden needle case with red velvet lining and leather strip and brass clip .10 Round lace pin-cushion with very fine ecru crochet dark green lining .11 Unknown handle of black composition with bone end and four inlaid lines with dot at end ,12 Ivory stiletto with screw top. Total of 13 parts to the object.domestic items, sewing, handcrafts, equipment

A dress belonging to the family of George Ward Cole in the late 1800s; possibly his wife Thomas Anne Ward Cole or one of his daughters, Margaret or Agnes. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn, brown silk, evening dress, circa 1860, consisting of a bodice and skirt. The bodice features an off the shoulder neckline edged with cream lace. A chevron design of black velvet trim, passes from the shoulders to the centre front waist, then hangs loosely to the hip line. The black velvet trim on the sleeves and the skirt is edged with a black fringe. The bodice (.1) base is finished in a v-shaped front at the natural waistline. There are short puffed sleeves also feature the black velvet fringed trim and lace at the edge along with three epaulette style strips, which pass from the shoulder seam to the edge of the sleeve. Each strip finishes with a decorative bobble. The bodice lining is cream glazed silk with steel boning, cotton tabs sewn into both sides have four eyelets for lacing. The dress has a full, floor length unlined skirt (.2) which is slightly longer at the back creating a modest train. The skirt has horizontal bands of the velvet trim and finishes with a box pleated trim of the dress fabric. The dress is fastened at the back using two connecting rows of black velvet covered buttons.brighton, st ninian's, 1860s, evening dress, george ward cole, thomas anne ward cole, margaret morison ward cole, agnes bruce ward cole

Light camel coloured silk (in very poor condition). Long sleeves overlaid with fine black lace in a floral design. Stand-up collar, five cm deep is overlaid with the fine black lace, and finished with a corded braid on the upper edge. Sleeves are tightly gathered at the shoulder tapering narrow at the wrist, giving a ''leg-o-mutton'' effect. 12cm wide fine black lace, attached at the neck edge, and shoulders, forms a ''puff'' decorative over the shoulder, and continues in a ''over-panel'' to the waistline. Ten x 1cm diameter plastic buttons, with a floral impression in them (2 missing) and 12 hand stitched button holes form the front opening. From the lower opening, six ''pintucks'' 12 cm deep, open into pleats at the lower edge, giving fullness to the bodice. Four metal hooks are evident on the lower tucked front and seven hand stitched eyelets are indicated, but are now severely damaged. Bodice is boned with ten X 17cm long bones, and is fully lined with cotton.A tiny 8cmX7.5cm, oval-at-one-end, pocket is stitched into the front opening, at the bustline. Back hemline dips to a V shape at centre backcostume, female, victorian bodice - cinamon coloured silk

Garry Hocking's last game 26 Aug 2001, Geelong v Brisbane Garry ‘Buddha’ Hocking Born: 08/10/1968 From: Cobram Height: 182cm Weight: 84kg Natural kicking foot: Right Guernsey numbers: 51 (1987) & 32 (1988-2001) First senior match: Round 3, 1987 v Melbourne at Kardinia Park As one of football’s genuine tough and skilful performers, he gave the Cats magnificent service. Undoubtedly, he became one of the code’s all-time greats. His ability to make perfect position, fix eyes on the ball at all costs, seize the ball in packs, mark with vice-like fingers and dispose by hand and foot on either side of his body to bring team-mates into the play made him a nightmare opponent. He delighted in applying gorilla-like tackles and bone-shattering bumps to open up opportunities for his allies. During the last few seasons of his career a severely damaged knee saw him ignore agonizing pain to continue to contribute. He just loved footy! Total Brownlow Medal votes: 133 Captain: 21 matches (1994-95; 1999) Third in Brownlow Medal count: 1991, 1994 Club Best & Fairest: 1991, 1993, 1994, 1996 Runner-up in club B&F count: 1990, 1998 Sixth in club B&F count: 1989, 2000 Seventh in club B&F count: 1997 Ninth in club B&F count: 1995 Tenth in club B&F count: 1992 All Australian selection: 1991, 1993, 1994, 1996 GFC Team of the Century selection (ruck-rover) GFC Hall of Fame inductee (2002) GFC Hall of Fame Legend GFC Life Membership (1995) Black frame with gold trimming, black card background with a perspex covering. To the right is a red Sherrin football signed by Gary Hocking. To the left is a colour photograph of Gary Hocking running during a football match pointing his finger in the air. Under the photograph is a gold plaque with the heading in black text "GARRY 'BUDDHA' HOCKING #32". Under the heading are statistics relating to Hocking's football career. On the back is white string for hanging. garry hocking, buddha hocking

Main Street Procession c1900 in front of Methodist Church looking East. Constable on Horseback visible. Possibly the Ballarat dragon making the date 1906 or it could be the Chinese See Yup Society Dragon, the head of which is still preserved in their South Melbourne temple. Businesses from left, Carters Boot Shop, Post Office Hotel, G. Mahanke Bakery, J.H. Stabb Stawell Coach Factory, Speedwell Cycles, W.J. Jenkinson Bootmakers, Bone Saddle & Harness Factory, W. Whiteside Taylors. Big Hill is visible in background and possibly the Market Building roof above the G. Mahnke sign. Sop In Trove the only mentions of a Chinese parade at Stawell was for Easter Monday 1906, and this occasion did feature a dragon – the costumes, banners, and dragon appear to have been borrowed from Melbourne, and it is suspected that this was the See Yup Society Dragon, the head of which is still preserved in their South Melbourne temple. At the time that this photo was taken there were only three Chinese communities in Victoria which are now known to have had parade regalia and a dragon – Bendigo, Ballarat, and Melbourne. The Melbourne dragon was the smaller of these, and that seems to match with what you can see in the photo, as does what appears to be a striped horn (frustratingly the pole obscures most of the dragon’s face). All three dragon heads still survive today, as does some of the original parade regalia, but Bendigo’s collection and dragon is the most complete. The remains of the See Yup Society collection have still to be properly studied and conserved. I would also note that if this photo was from Easter Monday 1906 then Bendigo and possibly Ballarat Chinese communities would not have been able to make their dragons available as both would have been preoccupied with their own towns’ Easter festivities. Photo taken from the Town Hall balcony of procession looking towards corner of Wimmera Street stawell businesses streetscape, chinese

Dry foods for domestic use were packaged in cloth bags from the late 19th century to the mid 20th century. As the bags contain the name Parsons' it could be presumed that they were oat bags as the Parsons Company packaged a variety of groceries for the Australian market including oats. The bags provide an example of calico bags used to store dry goods. Being presented as a ‘Farm Animal Series’ gives them added value as a collectable item and may have been an advertising ploy used by the company.A set of two calico bags from the Parsons' company - most likely bought as oat bags. The two are: No 1. (Clydesdale) and No 3. (Suffolk) from the Parsons' Farm Animal Series. Each bag has a multicoloured ink picture and written information about the horse described on the bag.8650.1 PARSONS' FARM ANIMAL SERIES No. 1, CLYDESDALE, The Clydesdale originated in the valley of the Clyde, Scotland. The main characteristics of the Clydesdale are ability to acclimatise in all parts of the world and perform all types of draught work. Clydesdale breeders lay emphasis upon bone, quality, weight, and action. The feet must be proportionate to the size of the horse, the hoof-head should have a full crown, with heels wide and quarters strong. 8650.2 PARSONS' FARM ANIMAL SERIES No. 3, SUFFOLK, The Suffolk, often known as the Suffolk Punch, originated in the County of Suffolk, England and is noted for its hardiness. From 15 to 16 hands in height, the Suffolk in general is smaller than the Clydesdale. The head is rather coarse, with the neck short. The body long, deep and wide with a round full appearance. The croup is straight, the legs short and free from feather. The invariable colour is chestnut, varying from light to dark.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, calico, domestic object, textile, food storage, parsons' farm animal series, oats, clydesdale, suffolk

Knitting, as a household task, has been traced back to 1100 AD where archaeologists in Egypt found remnants of socks. Evidently socks or stockings became a household necessity and creating them by knitting was the easiest way to get a good fit. The Tudors wore hand knit caps and King Henry the VIII made hand knit silk stockings, imported from Spain, a fashion staple. Meanwhile in Paris in 1525, men formed one of the first worker's unions for hand knitters. Knitting by machine first appeared during this same period and with the spread of fashion of the silk stockings and the basic needs of people to keep warm helped to fuel the popularity of knitting. By the 1850's, knitting machines were common place and apprenticing in such a factory, was considered honourable employment. But the main tool of knitting has always remained the needle, that is said to have it's origins in Arabia. The first needles were made of copper and looked more like hooks than needles. In other locations around the world, knitting needles have been found constructed from wood, ivory, bone, bamboo, amber and iron as well. They are also known as woods, skewers or wires depending where in the world they are found. Context: Edwin Rodgers was born in Lincolnshire England estimated at 1830-1832, records document that he was working as a Miller in Jan 1863 and that he resided in Warrnambool until his death in 1887. The knitting needle case is believed to belong to his wife Ellen Amelia (nee Heywood), daughter of George Heywood and Dinah Turton. She had married Mr Edwin Rodgers on 30 Jan 1863 in Warrnambool, and they had continued to resided in Warrnambool. Ellen Amelia Heywood was born Oct to Dec 1839 in Stockport, Cheshire England & christened on 5 Jul 1840 in St Thomas, Stockport, Cheshire. She died on 8 Dec 1922 in 284 Merri Street, Warrnambool, Victoria 10 and was buried on 11 Dec 1922 in the Warrnambool Cemetery.A significant item that belonged to one of the early families of Warrnambool and as such is regarded by the Warrnambool community as significant because it helps to document Warrnambool's development.Medium sized cardboard foldable maroon knitting pin case with numbered sections to fit relevant sized metal pins 10 in all case called the peacock knitting pin case.On lid of case written in italic Mrs E A Rodgers, Warrnambool 1860-1922, Wife of Edwin Rodgersflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

This match safe was amongst various items collected from a sea dive in Port Phillip Bay. The diver was the caretaker of the Port Lonsdale Lighthouse, who dived on various wrecks in the bay during the 1960's. After the caretaker's death, his son sold off many of the shipwreck artefacts. The match safe was purchased from the caretaker's son in the 1990's by a previous owner of the Marine Shop, Queenscliff, Victoria. Pocket match safes or match safes were small portable boxes, or containers made in a great variety of forms and shapes, each with lids or covers to contain matches and retain their quality. Matches came into use around the 1830's and were produced extensively between the years 1890 and 1920. During this period everyone carried strike anywhere matches, so they could ignite stoves, lanterns and other devices. Early matches were unreliable and prone to ignite from rubbing on one another or spontaneously. Accordingly, most people carried a match safe to house their matches. Wealthy people had ‘match safes made of gold or silver, while common folk had ones made of tin or brass. They were made throughout the world including the United Kingdom, in the U.S.A., continental Europe and Australia. Significant English makers of cases were, Sampson Mordan and Asprey & Co. Significant American manufacturers of match safes include Wm. B. Kerr, Gorham, Unger Brothers,  Battin,  Blackington ,  Whiting, George Scheibler and Shreve & Co. Different patterns and types run into thousands as well as plain and decorative examples. They were also made in a wide range of materials, including pressed brass, pressed tin, gunmetal, nickel silver, gold, bone, ivory, the wood of varying types, early plastics like tortoiseshell and Bakelite, and ceramics. A distinguishing characteristic of match safes is that they have a ribbed surface, usually on the bottom, for lighting the matches. The item gives a snapshot into the social development through it's application in every day use match safes were used at a time when there were no safety matches and the early use of matches was a dangerous affair given they were easily combustive if rubbed together in a pocket for example. The item is also an example of the shipwreck artefacts gathered along the southwest coast of Victoria.Match Safe; hollow brass cylinder with ribbed match striker texture on base and screw thread around top. Fitted brass lid has an internal screw thread, and the top's flat surface has concentric circles design, with a twisted rope pattern grip around the edge. flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, shipwreck artefact, port phillip bay, port lonsdale lighthouse, wreck, 1960’s diver, queenscliff marine shop, match container, match safe, matches, fire lighter, fire safety, heat, fire, portable match safe, 19th century

The RDNS Sisters are both holding the 1st day Cover Envelope issued by the Australian Postal Department in 1985 to commemorate the founding of the Melbourne District Nursing Society on the 17th of February 1885. A stamp is in the right hand top corner of the envelope. The main body of the stamp is pale blue. On the top of the stamp, written in deeper blue/grey, are the words "Centenary of District Nursing Services 1985" Below this, and to the right, is a pale bone colour original sign on a metal fence which reads, in white capital letters, "Melbourne District Nursing Society" Standing on the left in the foreground is a MDNS Trained nurse (Nurse) in her long grey uniform frock with white collar, cuffs and belt. She is wearing a grey helmet style hat which has a white hat band with a red Maltese cross in the centre. Her black shoes can also be seen. She is holding a bicycle; only the front wheel and part of the frame and the handlebars, which have a brown nursing bag strapped to them, can be seen, The nursing bag and handlebars cover part of the MDNS sign. At the bottom of the stamp, on a strip of white background, are the words in capital letters "Australia 33c". Below the stamp is a rectangular1st mark. On the left half of the envelope are some sketches of several two storey buildings either side of a set of steps. Some adults and children are standing on the steps as well as in the foreground; some are sketched and others dressed in various coloured clothing. In the foreground right in front of steps, stands a lady with her hair drawn up and wearing along grey frock and white apron; partly seen against her right side is a small child dressed in brown. Sister Willie Fleming is the Supervisor of the RDNS Sunshine Centre and Sister Phillipa Kariko is Supervisor of Essendon Centre. They are wearing their RDNS uniforms of white short sleeve blouses under royal blue V neck tunic style frocks. The RDNS insignia is round and has royal blue writing on a white background. In Melbourne in 1885 it was recognized that skilled nursing was needed to care for the sick poor in their own homes. On the 17th of February a meeting was held with prominent Melbourne citizens, five gentlemen and fourteen ladies. ‘Dr. Caffyn and Rev. Charles Strong explained the objects and scope of District Nursing Societies that had been formed in towns in UK’. On that day the Melbourne District Nursing Society (MDNS) was founded, the first District Nursing Service in Australia. Subsequent meetings were held to form a Committee and to draw up a Code of Rules of the Society. It was decided only nurses who had attended a Nurses Training School at a Hospital and were fully qualified would be employed by the Society, and that the Nurses would keep a daily journal of their work. After interviewing several candidates, the first Nurse, Mrs. Ferguson, was employed with a salary of £100 per annum and commenced work on the 1st of May 1885. She was employed for three months initially, but this was soon extended, “on the understanding she will make arrangements to live in the more immediate vicinity of her district”. A Doctor was consulted before any person was seen. In rotation, a member of the Superintendence Sub-Committee supervised the Nurse’s visits and could assist to alleviate some of the poor social conditions they found. Though only Trained nurses were employed, the term ’Nurse’ was used in those days, not the term ‘Sister’ that is used these days. A second Trained nurse, Mrs. Joanna Cannon, was employed in late 1885, with a trial period of six months which was extended. The two Nurses worked in the now CBD, ie from Spencer Street to Spring Street and from Victoria Parade to Flinders Street. At that time they walked the streets and lane ways amid the slums of inner Melbourne carrying their nursing bags containing lotion, ointments, powders, liniment, bandages, dressings, a case of spirits, and the Nurse's own clean apron, soap and small towel. They supplied equipment on loan, such as earthenware hot water bottles, splints, urinals, bed pans, bed cradles, feeding mugs, and air-cushions as well as providing blankets and clean bed linen, and nightdresses as necessary. From its inception the Society was at the forefront of health care and liaised with Doctors. They provided high quality nursing care to a range of people, often in destitute situations, some lying on rags on the floor as they had no bed, others with just a bed and maybe a thin blanket, a chair and nothing else. Their ages ranged from babes, children, adults to the elderly. The Nurses gave medications as ordered, dressed wounds e.g. to the injured, and surgical cases, and to those with leg ulcers; attended to patients with ‘surgical ailments’ such as ‘hip disease’; gave care to those with acute illnesses such as bronchitis, pleurisy, pneumonia, measles, and scarlet fever, as well as those with chronic illnesses such as consumption (tuberculosis), heart disease, arthritis, cancer, debility, neuritis and paralysis. They educated their patients, and their carers, in the curing and prevention of disease; teaching the importance of hygiene, cleanliness, ventilation and good nutrition. They taught them, by verbal instruction and demonstration, how to make poultices, to make and apply bandages, apply medical appliances such as splints; and the Nurses supplied milk, beef tea and they cooked soup when needed. As the work increased a third Nurse was employed but this was arduous work, particularly in the heat of summer and many Nurses only remained with the Society for several months. A Midwifery Service commenced in August 1893 with Nurse Fowler the first trained Midwife. She had previously worked with the Society carrying out General nursing. The Society expanded its areas using public transport and with the Society purchasing bicycles in 1903, before procuring its first cars to cope with the influx of patients during the Spanish influenza epidemic in 1919, though these were sold in 1927 due to their poor condition..A Motor Auxiliary was formed in 1929 to take Sisters to patients, and some Sisters used their own cars; even a motorcycle was used by one Sister in 1933. All these forms of transport were intermingled and in the early 1950s, and now as Melbourne District Nursing Service, seven Ford Prefect cars were bought followed by twelve Ford Anglia vehicles in 1955. Having received Royal patronage; the now Royal District Nursing Service (RDNS) had its own fleet of Holden vehicles by the mid 1960s and the Motor Auxiliary ceased operating in 1971 as by then all staff employed were required to have a driving licence. Seat-belts had been introduced to Victoria in 1959 and District fitted them to their cars from 1962, even though they did not become compulsory until 1970. The Holden vehicles were replaced with grey Holden Torana vehicles. After several years the fleet was changed to white Toyota Corolla vehicles. The Melways Directory of maps was introduced in 1966, which was a boon to the Sisters, though it was a few years before it went beyond Seville, so a large paper map was used by the Sisters visiting patients in the areas passed Seville. By 2009 there were 598 cars in the fleet and the Sisters travelled 9 million 200,000 kilometres – this is equivalent to 12 trips to the moon and back. Over its years of expansion the RDNS Trained nurses (Sisters), continued to visit patients in their homes and gave best practice care in many fields of nursing, and to people of many cultures. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Sisters provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as Amputees, those with MS, MND, Guillan-Barre Syndrome, Poliomyelitis, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary. On the left of the black and white photograph is Royal District Nursing Service (RDNS), Sister Willie Fleming, who has curly blonde hair, and on the right, Sister Phillipa Kariko, who has short dark hair. They are standing outside Essendon RDNS Centre.. They are both wearing their RDNS summer uniform of dark V neck tunic style frocks, with emblazoned RDNS insignia on its upper left, over short sleeve white blouses, Each are holding an envelope with writing, sketched buildings and figures on the envelopes left side, and a stamp is on the upper right corner. Below the stamp is writing in a rectangle. Behind the Sisters is a brick wall with them hiding some of the white capital letters of the words 'District Nursing Service' and 'Essendon Centre'. Windows and part of the fascia of the building is seen behind this.Handwritten informationmelbourne district nursing society, melbourne district nursing service, mdns, royal district nursing service, rdns, rdns centre, sister willie fleming, sister phillipa kariko, rdns 1st day cover centenary envelope

This dress belonged to Ethel Nina Blundell (1876-1949), having been first made for her mother Jane Blundell (nee Burkitt, 1845-1878). Born in Dublin, Jane married James John Blundell Jr at the Black Street Congregational Church in Brighton on 16 March 1874. The Blundells were a socially prominent Brighton family who played an important role in the development of the area. James' father, publisher and bookseller James John Blundell Sr, served as a Brighton Borough Councillor between 1862 and 1867 when the local government was still in its formative years, including holding the position of Mayor in 1864. He was involved in the foundation of the Brighton Volunteer Rifle Corps and was also a strong supporter of the Brighton Ladies Benevolent Society. The Blundell family were active members of the Brighton Congregational Church and supported the construction of the Black Street church, where James Jr served as a deacon for sixty years, in addition to his work in the Crown Land and Survey Department. The dress is believed to have been made for Jane in 1875 or 1876 during her early pregnancy, likely by a local dressmaker. Jane died in 1878 when Ethel was very young, and Ethel was then raised by her father and paternal grandmother. As she never married, Ethel remained living in the family home of 'Eumana', 164 Church Street, and as an adult she assumed the role of hostess whenever she or her father had guests. On these occasions, she reportedly wore her mother's dress. The family home was sold on James Jr’s death in 1924 and Ethel was living at 52 Black Street Brighton when she died in 1949. In the 1930s, Ethel gifted the dress to a close family friend, Dr Jean Kelly. She told Jean that the garment held precious memories, perhaps due to the connection it provided to the mother she had never known. Jean donated the dress to the Merimbula Old School Museum in NSW in 1987, where it was on display for many years. The Museum donated the dress to Brighton Historical Society in 2023.This is a good example of a late nineteenth century day dress, made from two different patterns of russet brown silk brocade and featuring a lobster tail style bustle. The lack of boning combined with waist and hip measurements indicates it may have been made as a maternity dress. It is lined with beige leaf pattern cotton fabric. The princess line fitted bodice of herringbone pattern brocade has a high round neck with small 'mandarin' style collar and buttons down the front to below the waist where it forms an overskirt which is bordered with a band of coffee bean patterned brocade. The overskirt drops down to hem length at the back but from the centre front it is draped up to the back to a point below the waist level. Here it is sewn to the edge of the lobster tail style bustle which is also bordered by the coffee bean fabric. There is a concealed pocket with the opening under the right edge of the bustle. The buttons on the front of the dress have a decorative circlet of small blue flowers around a russet silk covered dome. The long sleeves are set in and slightly full with a contrasting three pleat band of coffee bean fabric with an ornamental turn back from the pleats sewn just above the wrist. The skirt section of the dress is in four 20 cm bands of alternate fabric patterns with the top and third band of coffee bean pattern slightly gathered and the second and fourth bands of herringbone forming pleated ruffles.1870s, ethel nina blundell, jane blundell, jane burkitt, eumana