Timber box with brass clasp at the front. Inside is lined with green felt. Black plastic yarn meter with handle grip, pulley wheels and window showing the measurement gauge. Patent panel on the back. 2 pieces of paper- one is a diagram of the battery (?). The other is a general overview of the product.wool, hatra, yard speed meter

Stick mercury barometer, named after Admiral Robert Fitzroy of the Royal Navy (1805 - 1865) for his detailed instructions on interpreting the weather that are included with the instrument. Fitzroy was the captain of the Beagle, a weather forecaster to Charles Darwin and the second Governor of New Zealand. He developed many different types of barometers and was the first person to introduce the science of weather forecasting to the British Isles. A local manufacturer of scientific instruments, Thomas Gaunt, produced the barometer and it was adapted for the southern hemisphere by Robert Ellery, the State Astronomer based at the Melbourne Observatory. Described as "Gaunt's Fitzroy Barometers" in the original sale catalogue, it was priced from 25/- to ₤9.9s. [See Miller, M., Gaunt’s Time, 2014]. Thomas Gaunt's business was originally located at 14 Bourke Street East from 1858. In 1869-1870 he moved to new premises in the Royal Arcade, Collins Street. Gaunt's business became an institution in Victorian Melbourne and Gaunt its leading clock maker. PROVENANCE According to official minutes the barometer was purchased by the Melbourne Athenaeum in 1874. In particular, at the March meeting of the General Committee the House Subcommittee was instructed to "obtain a Fitzroy or other reliable barometer" to be "fixed in the Reading Room". The 1874 Annual Report records the purchase at ₤3.10.0. The barometer is historically significant as an example of the work of Melbourne’s leading scientific instrument maker, Thomas Gaunt. The barometer has social significance as an example of the type of accoutrements provided by the committee of the Melbourne Athenaeum for the comfort of its members. Further social significance lies in the fact that Robert Ellery, the Government Astronomer, who designed the local version of the barometer, has a direct connection with the Athenaeum being a subscription member and committee member of the Athenaeum during the 1870s. There are also records of a T Gaunt as a subscription member of the Athenaeum during the 1870s and 1880s which may be Thomas Gaunt, however, this is yet to be verified. Stick mercury barometer known as the Admiral Fitzroy Barometer. It comprises an oblong wooden case with glass front panel, ornate pediment, barometer with bulb cistern (empty of fluid),printed instructions for interpreting information given by the gauge affixed to left and right face of instrument. Includes a thermometer. The barometer appears to be intact except for the turning knobs which are missing and the mercury in the tube which is not present. Whether the instrument could be restored to working order is unknown. Front right panel, metal plaque: "Thos Gaunt, Barometer Maker, Royal Arcade, Melbourne"melbourne athenaeum, barometer, thermometer, admiral fitzroy, thomas gaunt of melbourne, robert ellery

A 'Boutonneur' or Buttoner; is an instrument wherewith buttons are pulled through their o'er-strait holes. To use the implement on a shoe, one firmly grasped the handle, and then inserted the steel hook through the eyelet, grasping the button and pulling it through.Small chrome plated steel hook with bone panels riveted to either side of the handle.footwear accessories, button hooks, boutonneurs, buttoners

Iron-framed Thurmer upright piano with dark wooden panels. Two marks where candlesticks or other objects may have been attached can be seen on the front panel. Decorative carving on sides. 2 pedals.Thurmer; Sole Agents Allan & co. Pty Ltd Melbourne, on front. Paper sticker inside top lid - 'Ferd. Thurmer'.musical instruments, keyboard, thurmer, piano, augusta borrack (ziebell), leo borrack, allan & co.

A brutalist style ciborium in the modern manner, crown of thorns decoration to lower outer rim of cup with squared knop to stem decorated with the instruments of Christ's passion. Four sides of the stem are decorated with enamelled wheat and the base is set with four cameos the panels between decorated with vine leaf and grapes. The lid to the ciborium is decorated with engraved stars surmounted with and enamelled cross, centred with IHS.Presented by Mrs W.F.Holmes & Family in Loving Memory of her Devoted Husband and their Loving Father. 17-3-64.

A rectangular cream Ivory style relief carved panel of ten Ancient Greek figures playing and listening to musical instruments played outdoors. They are wearing robes; some are standing and some are sitting on or near rocks and a plant. The artwork has a mottled wooden frame and gold painted cardboard mount. It is covered by celluloid or plastic to protect the carving. The backing is wooden with small screws holding it all together.The whole sculpture is carved in fine detail.relief engraving, objects of vertu, carved picture, ancient greece, carvings

Used in the late 19th and early 20th century.A vintage No 2 Class II Salters Improved Spring Balance weigh scale with a weight guage of 0 - 40 lbs. It is made of metal with four rivets holding the front measurement panel covering the spring with a ring at the top and a hook at the bottom to hold the item being weighed. It was manufactured in England by Salters and used in the late 19th and early 20th century.'No 2 Class II Salters Improved Spring Balance weight guage 0 - 40 lbs. Manufactured in England by Salters'''spring balances, scales, balances, weighing instruments

Stations of the Cross by Clifton Pugh is a contempooray art piece in four sections making up 11 stations of the cross. It was commissioned by the Catholic parish in Eltham (Our Lady Help of Christians) in 1961 Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p81 Art is an important means of nurturing faith at Our Lady Help of Christians Church, Henry Street, Eltham. The Stations of the Cross by Clifton Pugh and The Crucifix with the Ascending Jesus by sculptor Charles Rocco are two of the fine works that enhance the parishioners’ worship. These two inspiring works of art were added in 2001 – long after Roman Catholics began worshipping in Eltham around 1864. This beautiful worship centre was built following hardship and change – for parishioners have endured their church being destroyed by fire and have built four churches since they first worshipped together. Before 1864, according to local legend, a visiting priest administered sacraments in the parlour of former convict-turned-respected citizen Thomas Sweeney at Sweeneys Lane, Eltham.1 The first church was blessed in September, 1865, by the Archbishop of Melbourne, Dr Goold. It stood on an acre (0.4ha) of land in Little Eltham as that area was known then, near the present Fordhams and Main Roads and was part of the Heidelberg Church Parish. In 1912 the church was relocated to a new building on the present primary school site at 1 Henry Street. This was closer to the town centre, which had moved from Little Eltham after the railway line was extended to Eltham in 1902.2 In 1958 the church split from the Sacred Heart parish, Diamond Creek, to become a parish in its own right, with Father Tom Curran as inaugural priest. Not long after in 1961, a fire destroyed the church and huge working bees under the prominent Catholic builders, the Sibbel brothers, rebuilt and extended it, using the original altar from the first church. It was then that builder and parishioner Herman Sibbel asked his friend, artist Clifton Pugh, to paint the Stations of the Cross for the church. But the priest, Father Curran, neither approved of Pugh’s bohemian reputation nor liked the paintings, so they were hung in the corridor of Our Lady’s Primary School instead. The parishioners almost sold the paintings in 1989 to pay for major school renovations. However the paintings remained there for about 40 years, until 2001, when the church was extensively renovated by Father Barry Caldwell. Another change awaited the church, as it outgrew its building, later to be used as the school hall. So, in 1976, the present church was built across the road. Three beautiful stained-glass windows depicting the Passion, Death, Resurrection and the presence of Christ’s Spirit, link these with the church’s experiences. The first depicts a bushfire in Eltham, referring to their church damaged by fire. Another represents the Resurrection of Christ with new growth on a blackened stump and the Holy Spirit is represented by the Southern Cross. A window depicting Our Lady Help of Christians by parishioner Bill Peperkamp, was donated by parishioners to commemorate the Silver Jubilee of Father Desmond G Jenkins’ ordination to the priesthood on July 27, 1977. This, with the statue of Mary, creates a Marian shrine. In the 14 Stations of the Cross painted on four masonite panels Pugh captures the pathos of the suffering Christ and his disciples.3 The figures are stylised, except intriguingly, that of Pontias Pilate, who looks like Clifton Pugh. Charles Rocco’s sculpture is an extraordinary Jesus figure being raised from the Cross. The delicate stainless steel mesh of the figure creates a sense of the power of God over death. The organ, built in 1868 by George Fincham and Sons, was first installed in the All Saints’ Anglican Church, East St Kilda, then in the St Andrews Church, Clifton Hill. It was rebuilt into a modern instrument with a donation from parishioner Jim Murray, in memory of his wife Gwendolene Mary.4 Church members created their own work of art in front of the entrance, by painting designs and messages on 700 tiles. This work indicates the strong church family and faith expressed in art, that awaits the worshipper inside.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art, clifton pugh, stations of the cross, our lady help of christans, installation

This object is believed to be associated with training at the Parkville Secondary Teaching College during the 20th Century.Related to objects 450 and 452This rectangular wooden resistance decade box features four large dials for controlling resistances. The dials are mounted atop a black plastic panel, each with a square base. Three smaller dials are mounted to the right of the large dials.Embossed plaque at front: 'J. L. WILLIAM / SCIENTIFIC INSTRUMENTS / SERIAL No 3960 / TYPE RB4DS / MELBOURNE / AUSTRALIA' Engraved and filled white on top plate from left to right: 'ABSOLUTE OHMS AT 20 C / MANGANIN' Logo reading: 'J. L. WILLIAM / SCIENTIFIC / INSTRUMENTS / MELBOURNE / SERIAL No 3960' 'ZERO RESISTANCE / 0.004 OHM' Engraved on back edge of top panel: 'SECONDARY TEACHER COLLEGE PARKVILLE' Dials are labelled underneath with unit measurements for resistance settings, engraved and in-filled white.j. l. william, decade box, electrical equipment, resistance decade box, scientific instruments

Related to objects 451 and 452Resistance decade box constructed with a rectangular wooden body and black plastic top displaying five large dials and fifteen smaller dials. Unit measurements are inscribed beneath each dial.Left to right on top panel surrounding dials: 'INT / OHMS AT 20 C MANGANIN / PURCHASED BY UNIVERSITIES COMMISSION / J. L. WILLIAM MELBOURNE' Adhered label at center of top, between dials: 'Part 2 W B S' Long front side has an metal panel with paper label and PVC covering demonstrating setup that has 'SERIAL No 416' engraved along upper edge. j. l. william, scientific instruments, resistance decade box, electrical instruments, decade box

Wooden box with brass top and 24 knobs (22 larger and 2 smaller) on the right-hand side. In addition there are two extra knobs on the right side of the top, as well as two removable oval access panels with handles on each of the ends.Stamped on top of box: a coat of arms 'HARTMANN OF BRAUN A/M' 'RICHTIG BEI / 20 / GRAD CELSIUS' increments for measurement On front side: Sticker labelled 'NATURAL PHILOSOPHY LABORATORY / NO 7 / UNIVERSITY OF MELBOURNE' Stamped on end of metal top: 'No. 2665'hartmann of braun, resitance decade box, resistance box, electical instruments, frankfurt, natural philosophy laboratory

The company that made this piano was founded in 1728 by Burkat Shudi, a Swiss harpsichord maker. John Broadwood, a joiner and cabinetmaker, worked for Shudi and eventually married his daughter and became a partner in the firm. Broadwood continued in this business after Shudi died in 1773. John's son James also worked for the firm and in 1795 they became John Broadwood & Son, then when a third son joined as partner in 1808 they become John Broadwood & Sons Ltd. and the name has continued on even now. Pianos manufactured by John Broadwood are of world renown.This piano is significant as a historical musical instrument. It is an example of the type of instruments used for entertainment and worship from the mid-19th to early-20th century. Piano, cottage upright, wooden casing in dark wood with a rich grain. The piano features a pair of brass candlesticks, a music holder and a fitted lock on the keyboard cover. Decorative design etched in panel between candlesticks, Maker's name is in fancy lettering behind the keyboard. Made by John Broadwood and Sons, London. Painted in fancy text "John Broadwood & Sons/ / London"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, piano, upright, candlestick holder, john broadwood & sons london, musical instrument, upright cottage piano, antique piano, victorian entertainment

Patient controlled analgesia, or PCA, was developed in the 1960s. This mode of opioid administration allows patients to directly respond to their individual levels of pain. It is estimated there are now somewhere between six and 15 million uses annually.Two parallel sections enclosed in cream coloured metal casing and joined in the centre via a brown metal section that also forms the base and stand. The left side has a dark brown perspex cover with a small brushed metal latch and handle. The right has a grey metal panel with dial, knobs and a rolled paper dispenser. A clear plastic intravenous bag is attached to the device by a clear plastic tube.There is also a black plastic coated wire attached to a handle with a red button on top. This is used for the patient to administer the analgesia. analgesia, intravenous, flinders medical centre, janssen scientific instruments, patient controlled

Details of a decorative murals taken from The Weekly Times Diamond Jubilee Celebrations. The decorative mural is on the righthand side of the town hall stage. Three smaller images (floral) are on the right hand side of the mural. The artist of the murals was Will Rees.Enlarged black & white photograph of a mural with a woman seated holding a musical instrument. The image is an enlargement of the righthand panel beside the stage in the town hall. The enlargement taken from the Weekly Times newspaper cutting of the Stawell Diamond Celebrations The paper was handed on to the Society by Stawell Athletic Club.stawell