Has a strong association with a BTPS organised tour and yields information about the tour arrangements., Has a strong association with a BTPS organised tour and yields information about the tour arrangements.Spirit duplicated, handwritten Special Table" or timetable for a charter tram tour. Issued by the MMTB for a BTPS special charter on 12/1/1982. Inspector Davies, out of Malvern Depot. Gives time and route arrangements, primarily in the Essendon area. Drivers Carolyn Dean and Ron Scholten, with tram No. 1018. Hired for the Andrew Hall's 21st Birthday. See C. Cleak for event purpose.trams, tramways, btps, charters, special trams

Demonstrates an aspect of Ballarat where trams stopped at the Tramway City Centre terminus. Has the Ballarat Town Hall, a well known feature at this location.Black and White photograph of SEC No. 11 and No. 13 at the City Centre terminus, east bound in Sturt St. Has the Ballarat Town Hall in the background. Taken late 1960's? Tram No. 11 has a "Twin Lakes" on the front of the tram and "Nothing Beats Briquettes for Heat" roof advertisement and destination of Lydiard St Nth. Photographer unknown. Has been used for display purposes.tramways, trams, sturt st, town hall, tram 11, tram 13

Set of five Blocks each of 200 tickets bundled for issuing purposes - brown ink on off white paper, 60c, with the letters MTA at the top of the ticket. The ticket number is in black ink. The tickets have been wrapped with a sheet of brown paper secured with adhesive tape. Numbered R093001 to R094000 The tickets have been stapled onto a heavy cardboard back with a single metal staple.trams, tramways, the met, tickets, mta

The Austox "Dental and Midwifery" (D-M) machine has been sectioned for teaching purposes. Namely, one of the two white, circular chambers on either side of the machine has been sectioned to show the tambour inside, as has the central valve and one of a connection point below the chamber on the left. The two chambers are connected to the central pole by thin metal tubes and are attached with metal framing.anaesthesia, dentistry, midwifery, nitrous oxide, oxygen, oxygen gas, sectioned, sectioning

Irregular cylindrical grey inhaler that has been sectioned for teaching purposes. The centre dial is labelled "E.M.O. ETHER INHALER", and controls for the percentage volume of ether released, from "close for transport" to 20%. The sectioned areas of the apparatus have been painted yellow and expose the vaporising chamber, wick, ether level indicator, temperature compensating valve, air bypass chamber and mixing chamber. anaesthesia, vaporizer, vaporiser, sectioned, inhaler

Purpose of the meeting was the reforming of the Historical Society. Discussion included a suitable building to house exhibits, finance and insurance. A Committee of nine members was formed.Two typed pages on yellow foolscap sized paper of minutes of the Inaugural Meeting of the Historical Society of Phillip Island. 21st August 1967 held at the Council Chambers, Cowes.local history, phillip island historical society, local identities

This handmade rope ladder is an example of maritime equipment. It could be easily folded and stored and was useful for many purposes including fixing the ship's rigging.The rope ladder is an example of handmade maritime equipment using the shills of a ship's carpenter or sailmaker. It was simple to make, easily stored and useful for many purposes including the ship's rigging. The rope ladder is significant for being the only rope ladder in our collection of maritime equipment. Rope ladder. Handmade ladder with three wooden steps joined by thick rope lengths between them. Each step has rounded corners and a large hole near each corner. The tope is threaded and knotted to create an equal distance between the upper, centre and lower steps. flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ladder, rope ladder, handmade ladder, ship's ladder, maritime equipment, rigging, ropework

Photograph probably for promotional purposes, of a "David Sowden and Sons" loom No 458. Photograph was with other photographs in an envelope from Yarra Falls Mill.Photograph, black and white, of a "David Sowden & Sons" loom No458.458textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of a "David Sowden and Sons" loom No 494. Photograph was with other photographs in an envelope from Yarra Falls Mill.Photograph, black and white, of a "David Sowden & Sons" loom No 494.494textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of a "David Sowden and Sons" loom No 454. Photograph was with other photographs in an envelope from Yarra Falls Mill."David Sowden and Sons" loom No 454.454textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, probably of a "David Sowden & Sons" loom No 390. Photograph was among items from Yarra Falls Mill.Photograph, sepia, of a loom. No390.390textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, probably of a "David Sowden & Sons" loom No 388. Photograph was among items from Yarra Falls Mill.Photograph, black and white, of a loom, No388.388textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, probably of a "David Sowden & Sons" loom No 387. Photograph was among items from Yarra Falls Mill.Photograph, black and white, of a loom, No387.387textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, probably of a "David Sowden & Sons" loom No 420. Photograph was among items from Yarra Falls Mill.Photograph, black and white, of a loom, No420.387textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, probably of a "David Sowden & Sons" loom No 451 Photograph was among items from Yarra Falls Mill.Photograph, black and white, of a loom, No 451.No 451textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of a "JDavid Sowden & Sons" loom No167 (or 107). Photograph was among items from Yarra Falls Mill.Photograph, black and white, of a "David Sowden & Sons" loom, No167 (or 107)107textile machinery weaving, yarra falls mill, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of part of a "David Sowden & Sons" loom, No 386. Photograph was among items from Yarra Falls Mill.Photograph, black and white, of part of a "David Sowden & Sons" loom, No 386.386textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably used for promotional purposes, of a "David Sowden & Sons" loom No 170. Photograph was among items from Yarra Falls Mill.Photograph, black and white, of a "David Sowden & Sons" loom, No 170.170textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of a "David Sowden & Sons" Dobby loom No 165. Photograph was among items from Yarra Falls Mill.Photograph, black and white, of a "David Sowden & Sons" Dobby loom, No165.DAVID SOWDEN & SONS/LOOMS/Double Lever /.../Dobby./..SHIPLEY/ NO165textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of a "David Sowden and Sons" loom No 542. Photograph was with other photographs in an envelope from Yarra Falls Mill.Photograph, sepia, of a "David Sowden & Sons" loom No 542.542textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of a "David Sowden and Sons" loom No 543. Photograph was with other photographs in an envelope from Yarra Falls Mill.Photograph, black and white, of a "David Sowden & Sons" loom No 543.543textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of a "David Sowden & Sons" loom No296. Photograph was with other photographs in an envelope from Yarra Falls Mill.Photograph, black and white, of a "David Sowden & Sons" loom No 296.296textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Photograph probably for promotional purposes, of part of a "David Sowden and Sons" loom No 144. Photograph was with other photographs from Yarra Falls Mill.Copy photograph, black and white, probably of a "David Sowden & Sons" loom, No 460.460 Copy of ...Corset Loom/ from 1910/...textile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

The Purpose of this manual is to describe the documentary archives of the Department of Crown Lands and Survey (Lands Department) and Explain, how they can be used for historical researchYellow card Cover Black Print and B/W Photo of two wooden buildings The Lands Manual A Finding guide to Victorian Lands Records 1836-1983 Written by Peter Cabena, Heather McRae & Elizabeth Baldinstawell

Photographs were most likely used for promotional purposes. Loom made by David Crabtree & Son, a loom manufacturer based in Laisterdyke, Bradford.Black and white blue tinged photograph of a loom in landscape format.Stamped top right corner - David Crabtree & Son HOPE IRON WORKS, Laisterdyke, BRADFORDtextile machinery, wool manufacture, wool, loom

Boots: GP meaning General Purpose. Simply called by soldiers GP's. Item issued to Peter Ball 3796117, refer Cat No 4704Boots, GP, black, high sided, lace up, leather. .1) Left foot. .2) Right foot.Oliver [up arrow] Final Inspection 8 - 8D Written: P Ballmilitary, footwear

Boots GP meaning General Purpose. Simply called by soldiers GP's. Item issued to Peter Ball 3796117, refer Cat No 4704Boots, GP, black, high sided, lace up, leather. .1) Left foot. .2) Right foot.R [up arrow] Size Fitting T.B - Made in Australia 9 Written: P BALLmilitary, footwear

Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt