张仲景 张仲景（约 150～219 年），名机，东汉末年医学家，著成《伤寒杂病论》，确立 了对伤寒病的六经辨证体系和治疗杂病的原则。被后世尊称为 “医圣”。 Zhang Zhongjing Zhang Zhongjing (about 150~219 A.D.), courtesy name Ji, a well known physician of the late Eastern Han dynasty. He compiled the famous “Treatise on Cold Damage and Miscellaneous Disease” and established the six-meridian pattern identification and syndrome differentiation. Later generations portray him as the “Medical Saint”. Three reproduction volumes printed on light tissue paper in black ink with blue soft cover and white thread binding. zhang zhongjing, chinese medicine, rmit chinese medicine collection

Grey Butcherbirds live in wooded habitats, including suburban areas, from the north of Western Australia, across different parts of the top of the country, through to mid-eastern Queensland, and then south along the eastern side of the country all the way down to Tasmania. They have a 'lovely, lilting song', and are fiercely protective of their nests and chicks, swooping at presumed attackers with enough strength to sometimes draw blood. Adult Grey Butcher Birds are typically a light grey colour with dark heads and white underparts. The brown colouring on this animal suggests that it is a young bird, with its grey adult feathers coming in. This bird appears thinner than most Grey Butcher Birds, but it is unclear if this is because of its age or because of inaccurate taxidermy. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This specimen is particularly special in the Burke Museum Collection as it is part of a male/female pair (see Relationships). Many birds in the collection were originally donated in male/female pairs, but at least one specimen has been lost, leaving these as one of the few surviving sets.This Grey Butcher Bird (likely female, based on size) has a light grey and brown bill with a sharp hook. The majority of the feathers on its back and tail are an olive-brown colour. The feathers of its underparts, the patches on either side of its bill, and two stripes coming up either side of its neck are a yellow-white colour. There are some light grey feathers coming through in small patches, particularly across the back, the top of the underparts, and along the upper half of the legs. The eyes are brown. The bird stands on a brown, wooden perch with a circular bar, curved stand, and circular base. It has an identification tag tied around its right leg.18a. / Collared Crow. Shrike / See Catalogue; Page 10. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, australian birds, butcher bird, butcherbird, grey butcher bird, collared crow-shrike, australian butcherbird, tasmanian butcherbird, tasmania, bird pair

Made by Duncan and Fraser for fitting to horse-drawn tramcars and possibly other products of their Adelaide workshops. See 565 and 8744 for other examples.Demonstrates Duncan and Fraser's workshop practice of putting their name on some fittings.Duncan and Fraser, Adelaide SA window lifter or bracket to enable a horse tram window to be lifted in the window frame. Cast brass, about 40mm in diameter with a right angle lug to enable a person to lift the window. Words "Duncan & Fraser" cast around the outside of the device and the words "Adelaide S.A." cast into the centre. Has been drilled with three countersunk holes. Has brown paint on the lifting portion. On the rear, possibly the letters "5L", scratched into the metal. If this is the case, could have indicated the fifth left hand window as an identification of location. Given to the BTM 1995 by Doug Prosser, of the TMSV, said to be from Ballarat Horse Tram No. 1 horse trams, duncan & fraser, window furniture, tramcar component, tramcars, tramways

The jacket is indicative of the dress jacket worn by a sailor of the rate of Naval Police Petty Office who has completed 12 years service.Jacket Double Breasted Service Dress Navy Blue with gold embroided insignia, [Naval Police Coxswain Petty Officer] on right upper arm; gold embroided rank insignia [Petty Officer] above three gold embroided chevrons indicating 12 years service on the left upper arm; shoulder flashes with gold embroided word, "Australia" on both shoulders. 8 gold button with embossed Australian Navy Emblem and the word "Australia" in parallel columns of 4. Size 111S (short fit) with 2 small gold button with embossed Australian Navy Emblem and the word "Australia" the cuff of each arm.Manufacturer's identification label on inside right breast.Manufacturers label measuring 4omm x 80mm showing company logo ADI / 1999 / arrow pointed up /NSN: 8405-66-132-2309 / Wool polyester / size 111S / matching / trouser size 101S / chest 112 / waist 102 / inside leg 78 / No / Name / Dry Clean Only / Made in Australia

Jacket worn by Brendan Honey when performing the duties of a Petty Officer Radio Supervisor in the Royal Australian Navy from Oct 1979 to Oct 2000Jacket Double Breasted Service Dress Navy Blue with gold embroided insignia, [Radio Operator Petty Officer] on right upper arm; gold embroided rank insignia [Petty Officer] above three gold embroided chevrons indicating 12 years service on the left upper arm; shoulder flashes with gold embroided word, "Australia" on both shoulders. 8 gold button with embossed Australian Navy Emblem and the word "Australia" in parallel columns of 4. Size 99R (Regular fit) with 2 small gold button with embossed Australian Navy Emblem and the word "Australia" the cuff of each arm.Manufacturer's identification label on inside right breast.Manufacturers label measuring 4mm x 8mm showing company logo ADA / 1990 / arrow pointed up /NSN:8405-66-132-2314 / 70% 30% Wool Poly / size 99R / match / trouser size 89R / No / Name / Dry Clean Only / Made in Australia/ owner's name written in black by a laundry marking penjacket, navy, jacket service dress, jacket petty office radio supervisor

Digital Image of Sydney Road, Coburg, looking south from near Bell St, showing the track repair work to remove bricks from the rails that were resulting in damage to the track foundations by letting water into the track. Photo supplied for identification purposes May 2020, by the Editor, Australian Railway History - see htd4680doc for email correspondence. Image belongs to the ARHS NSW Div. Rail Resource Centre No. 117413 Was used in the June 2020 issue of Australian Railway History - see Reg Item 4684. In the background are the Commercial Bank of Australia, A. M. Hadden Chemist, Walkers Stores, Joblings Boots, a Lending Library with advertisements for "The Age", "The Argus" and "The Herald".trams, tramways, sydney road, coburg, track repairs, trackwork

Shirt - green colour cotton fabric with long sleeves, shoulder epaulettes, two front pockets with button down flaps, plastic buttons. Cotton Manufacturers label - green colour with off white cotton label stitched over first label, below collar, both with black print information. Army workdress shirt commonly called "Greens".Green cotton label information - black ink print. "VICTORIA/1980/^ /SIZE 37/81/ 8405, 66, 093,2429/SERVICE NO./ NAME" Off white cotton label information - black ink print with handwritten details: "THIS TAG IS FOR IDENTIFICATION ONLY/ PLEASE REMOVE BEFORE WEARING/ Product No. 80021/5/Order No. 29100320/Size 37-81/Garment No. 20680D/Remarks".uniform, army, workwear

The Pacific Black Duck is also known as the Grey Duck in New Zealand. Despite these names, the plumage of the bird is brown in colour with the occasional cream and small amount of black. This species of Duck is located in all of Australia with the exception of the most arid zones. They can also be found throughout the Pacific region. The Pacific Black Duck resides in a range of different habitats that have some sort of water. These birds feed on aquatic plants, crustaceans, molluscs and aquatic insects. To catch their food, these birds plunge their heads and necks under the water with their rear raising above the top of the water. This technique is termed "dabbing". This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Despite its name, the Black Duck is largely brown in colouring. It has a mixture of light brown and cream plumage on the neck, face and stomach. The wings and rear of the duck are a darker brown. Each brown feather is bordered with a cream colour which separates the feathers from each other. The top of the head is also dark brown and there is a darker stripe of black colour horizontally on either side of the eye. The specimen has two brown and black glass eyes and a black bill. The legs and webbed feet are a dark brown and black colour. Tied around the left leg is a paper identification tag. The number 134 is inscribed on the left side of the wooden platform on which the bird is standing. This specimen is stocky.3a. / Australian Wild Duck / See Catalogue, Page 38. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, duck, pacific black duck, grey duck, australian duck

Europeans arrived in the Kiewa and Ovens Valleys in the 1830's and 40's. Following the drought of 1838-44, seeking out the rich pastures in the fertile Valleys. It proved to be perfect conditions for dairy farming and the raising of cattle. Miners Cottages and other similar wooden structures were a common sight in the area as they were a modest form of accommodation for their period, were quick to erect and economical as they made use of locally available building materials such as local timbers.These photographs provide a snapshot into the early dwellings and architecture of the Kiewa and Ovens Valley regions, including buildings such as the church, which provided an important gathering place for social interaction, especially in these isolated areas.1-Wooden church building with no identification. Large tree in the foreground in front of church 2&3- Black and white photographs of farmland and assorted dwellings, mostly miners style cottages in a valley with mountains in the background. A bridge with wooden railings is visible over the river in the middle of the photograph, also a more modern dwelling is visible in the north east of the photograph close to the river. 4-Black and white photograph of residential homes and farmland with an unsealed road running through the middle. Foreground shows a field which has been semi cleared of trees (stumps remaining). In the background are larger farming properties with the road disappearing into the distant hills. This might be Old Tallangatta before the town was moved in 1956. 1-3 - No inscriptions 4- Signature written on back in lead pencil - Sandra Templebuildings; church; farmland

Catalogue card reads, "East Ringwood Football Club. Two of the Best and Fairest players with the President. Left to right - Bruce Webber, Tom Reddish (Pres.), Max Vincent." However writing on back of photograph differs in identification of men. It reads, "Two of the Best and Fairest players of East Ringwood Football Club with the President. L. to R. Bruce Kerr, T. Reddish, Pres. Max Vincent".

This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. However, this bottle has no identification marks. This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, salt glazed stoneware, beigeNoneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, shipwreck artefact, stoneware, ironstone, pottery, bottle, antique bottle

NSWTD Railway Marker OIl lamp, No.1 RA Oil burning lamps have always been an important part of Australian railway signalling systems and have been used for communication, safety and lighting. It is called a marker lamp and was hung on rolling stock (carriages and wagons) such as the guard’s van to indicate the rear of the train at night. They were also used to indicate the rear of steam locomotive tenders for identification and safety purposes. This type of lamp was introduced to the railways around 1860 and continued to be used for over one hundred years. Oil lamps were phased out on the railways during the late 1960s and early 1970s, when they were replaced by battery lamps. Railway lighting included not only stations but yards, engines, rolling stock, signals, signal-boxes and crossings. There were a number of different types of lamps used for a variety of railway purposes. Historic - New South Wales Transport Department.- Railway Marker Oil Lamp NSWTD Railway Marker lamp, No.1 RA made of metal and Glass Railway lamp, paraffin, metal/glass/fabric, used for attaching to railway rolling stock to mark the end of the train, made by the New South Wales Transport Department, Sydney, New South Wales, Australia, 1870 - 1970 This lamp comprises a hollow cube of metal. One lens at the front transmits light from an interior light source. Fuel was either signal oil or kerosene. The burner inside the lamp used either cotton or felt wicks to create the light source. The lamp has a carry handle for carrying by hand and a bracket with a slot on the back for hanging onto the hook of a locomotive or item of rolling stock. It is marked "NSWTD" which stands for New South Wales Transport Department.NSWTD 1 RApuffing billy railway , pbr, nswtd railway marker oil lamp, no.1 ra

The American Crow is common throughout North America. They reside in areas with open view and trees but can often frequent city parks, suburbs of large cities and along the seashore. The Crow is a robber and therefore, find living in locations which they can raid for food perfect. These birds are sociable animals and are often found in small groups made up of family members. All their lives they reside in the one location; however, they do migrate south during the autumn. They usually find their food by walking along the ground and eat both plant and animal foods. This includes worms, larvae, insects and fruits and nuts. Crows are also known to feed on small rabbits, frogs and mice. They are also identified as nest predators because they feed on eggs. In areas occupied by humans, the Crow will find their food source from trash and also road kill. The American Crow is not considered to be an endangered species and list them on the IUCN Red List as Least Concern. However, large amounts of crows are killed for sporting and during campaigns (having a desire to reduce the population of the Crow in America). This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This American Crow has black plumage which has slightly faded in colour. This colour fading could also indicate that the bird was molting because the feathers of the American Crow appear brownish when the are about to molt and these feathers give way to new glossy black feathers. The specimen has two black glass eyes, a dark bill and dark legs with talons. Both the edges of the bill and the talons are faded into a pale buff colour. It is likely that the legs and talons were painted a dark black by the taxidermist and the paint has either worn off or faded over the years. The bird is standing tall on a wooden mount and looking forwards. It has a paper identification tag attached to the right leg. The tail is short and the feathers are rounded at the ends.153a. / See catalogue page 61taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, america, crow, american crow

COLLECTION OF PHOTOGRAPHS. Comprises 8 B&W photos of individuals or groups (various era) with no names provided; 4 colour photographs of people (couples) with no names provided; 2 B&W photographs with name identification on back - Russell January 1942; Russell & Audrey with Bridesmaids & Best Man Shirley's husband - Best Man Jack's daughter - small bridesmaid on left; one B&W? ( Polaroid) photograph of building - on reverse - Campbell Connelly, Bendigo (cnr. Forest St and High St). This photo shows the current building (2015 Chinese restaurant) with adjoining builiding in Forest St having Taubman's advertisement and corner building having a sign pointing up Forest St to the City Centre Motel.

This important booklet and record of service is first stamped and dated in 1913. It is unlikely to be the first booklet issued as the seafarer Arthur O. Dixon b. 1879 commenced maritime service in 1904 working for the Harrison Line between 1904 and 1914. He enlisted as an RNR officer during WW1. He is recorded as returning to Merchant vessel service with the New Zealand Shipping Co between 1916-1920. He subsequently was employed with Adelaide Steamship Co between 1920 and 1921. All documentation shows him to be regarded as an officer of good character and reliable. On leaving seafaring Mr Dixon eventually took up a smallholding in regional Victoria.Unusually for the early 20th C. era of Mr Dixon's service at sea two images of Mr Dixon survive on ID papers and were included in the gift of papers. Personal objects included an unusual small travel size New Testament (see VC record ) heavily annotated provide further insights into the experience of early 20th C. seafarers.Fabric reinforced and backed heavy card covers and service book with multiple pages pre printed for completion by either handwritten entries or ink stamps. Records service record, dates, status, vessel names, ports, master names, character assessment. A thin pink ribbon is affixed by a staple to Page 26.Various - see images licensing, registration, certificate of discharge, mariner papers, seafarer certification, identity cards, identification, arthur oswald dixon, seamanship, seamen, sailors, officers, seafarers, wwi, merchant navy, ran, rnr

Four NSWTD Railway marker Oil lamps at Nobelius Packing shed Item stamped numbers unknown Oil burning lamps have always been an important part of Australian railway signalling systems and have been used for communication, safety and lighting. It is called a marker lamp and was hung on rolling stock (carriages and wagons) such as the guard’s van to indicate the rear of the train at night. They were also used to indicate the rear of steam locomotive tenders for identification and safety purposes. This type of lamp was introduced to the railways around 1860 and continued to be used for over one hundred years. Oil lamps were phased out on the railways during the late 1960s and early 1970s, when they were replaced by battery lamps. Railway lighting included not only stations but yards, engines, rolling stock, signals, signal-boxes and crossings. There were a number of different types of lamps used for a variety of railway purposes. Historic - New South Wales Transport Department.- Railway Marker Oil LampFour NSWTD Railway marker Oil lamps made of metal and glass Railway lamp, paraffin, metal / glass / fabric, used for attaching to railway rolling stock to mark the end of the train, made by the New South Wales Transport Department, Sydney, New South Wales, Australia, 1870-1970 This lamp comprises a hollow cube of metal. One lens at the front transmits light from an interior light source. Fuel was either signal oil or kerosene. The burner inside the lamp used either cotton or felt wicks to create the light source. The lamp has a carry handle for carrying by hand and a bracket with a slot on the back for hanging onto the hook of a locomotive or item of rolling stock. It is marked "NSWTD" which stands for New South Wales Transport Department.NSWTDpuffing billy railway , pbr, four nswtd railway marker oil lamps

The Jot a Dot Pocket Brailler is a portable, manual Braille writer designed for use by individuals who are blind or have low vision. This small, lightweight brailler has six keys for Braille entry. The keys have high contrast colors for identification by users with low vision. Braille is written from the left hand side of the page to the right, with 20 cells of braille per line. The user can read Braille as it is written by turning the unit over. A built-in reading stand keeps the unit stable when resting on hard surfaces. Tactile line and cell indicators show the current location on the page. The line indicator shows which line is being Brailled, and the cell indicator shows the position of the embossing head on the line. By turning the device over, the user can read the Braille as they write it. This Brailler uses standard photocopy paper in A5 and A6 paper sizes. The unit is constructed in one piece, so there are no parts that can be lost. 1 rectangular blue Braille unit with 6 bright green keys Yellow sticker LN017a on front. On back Jot a Dot F07077 sponsored by Guide Dogs. braille equipment, assistive devices

Some decades ago a card sorting set for the identification and description of Australian timbers was developed for timber species which were available commercially and were in common usage, by the Commonwealth of Australia (CSIRO, Division of Forest Products) To complement and inform this national timber set each State or Territory developed reference timber sets of representative species. The Commercial Timbers of Victoria set was Victoria’s most recent (circa 1984) expression of this Victorian timber samples were sourced from logs selected by Forest Commission of Victoria (FCV) District Foresters and milled locally. Kiln drying and machining was carried out at timber producers Row, Web and Anderson, in Port Melbourne. Labeling and boxing was done by FCV Timber Inspectors, with box and booklet design and graphics handled in-house More recent timber samples were badged as Conservation Forests & Lands, reflecting historical government restructuring in the early 1980s Info: Simon MurphyProvided the public, industry (timber and associated), and educational facilities with a reference collection of notable Victorian timbers. Initially in a reduced format from 1940-50s, with boxed sets produced from 1981 until 1984A boxed set of timber samples representing the 20 tree species that were considered to be the most notable in Victoria. The set also includes an information booklet. Each timber specimen has information on species, occurrence, uses and physical properties Produced for sale by the the FCV and later by the Department of Conservation Forests and Lands. (CFL). forests commission victoria (fcv)

The tape has not been played. From the label it is an ABC broadcast of the Anzac Day commemoration on 19 April 1962. It is the Legacy run Anzac Commemoration for Students that is held just prior to Anzac day for school students to attend. Legacy has run the student ceremony annually and it is well attended. The ceremony provides a valuable opportunity for students to gain an appreciation of the Anzac spirit, the significance of the Shrine and the meaning of Anzac Day. ABC would broadcast the student ceremony so that schools unable to attend would be able to listen to the service.An audio record of a ceremony for school students at the Shrine.Metal cannister with reel and audio tape inside (no perforations present). Note loose inside container, detailing information on the audio recording. Visible tape marks on lid.Front of lid has handwritten label: VP 819 Note is as follows: AUSTRALIAN BROADCASTING COMMISSION TAPE IDENTIFICATION SLIP All material contained in this recording is subject to copyright control. Its use is PROHIBITED for any purpose other than that authorised by the A.B.C. TITLE: Any at Communication Heard at Legacy 17.5.62 State Film Carl 27.6.62 REEL: V.Good TAPE NUMBERS: VP819 REC 19-4-62anzac day, anzac commemoration for students

246 p. : ill. (some col.)Agony down under: Australian artists addressing AIDS /​ Ted Gott Allan from Sadness: a monologue with slides /​ William Yang Art from the Pit: some reflections on monuments, memory and AIDS /​ Simon Watney America: where angels don't fear to tread /​ Thomas Sokolowski The war on culture /​ Carole S. Vance Read my lips /​ Jimmy Somerville For a friend /​ Jimmy Somerville, Richard Coles Self-documentation, self-imaging,: Australian people living with HIV/​AIDS /​ Kathy Triffitt, co-ordinator Aesthetics and loss /​ Edmund White Psycho-cultural responses to AIDS /​ Dennis Altman Faces of AIDS /​ Lynn Sloan Lovers and friends /​ Richard Coles Where the streets have new aims: the poster in the age of AIDS /​ Ted Gott OI: opportunistic identification, open identification in PWA portraiture /​ Jan Zita Grover Don't leave me this way: art in the age of AIDS : catalogue of works.

Set of 3 Reports and one photograph, titled "MMTB Passenger Shelters as at" .1 - 16 foolscap pages, dated 1/4/1979, listing the route, route number intersection, tram stop, identification number, and type. Includes bus routes. .2 - ditto, 17 pages, dated 8/10/1979, prepared by R. G. Vanselow .3 - similar 8 pages, with hand written notes and giving drawing numbers. .4 - colour photograph of modular steel and glass type at stop 19, possibly St Kilda Road. Stop 19 in St Kilda Road was at Toorak Road, but the building is not there on Google Earth. Stop 19 on Flemington Road is at Abbotsford St (a Service Station) and Stop 19 Royal Parade is at College Crescent.trams, tramways, tram stops, tram shelters, bus routes

Although it is not known where these specimens were collected, Victoria and other regions of Australia were surveyed for sites of potential mineral wealth throughout the 19th Century. The identification of sites containing valuable commodities such as gold, iron ore and gemstones in a locality had the potential to shape the development and history of communities and industries in the area. The discovery of gold in Victoria, for instance, had a significant influence on the development of the area now known as 'the goldfields', including Beechworth; the city of Melbourne and Victoria as a whole. Agate occurs when amygdales (gas pockets) form in the upper levels of basaltic lava flows. If these pockets or bubbles are iniltrated by water bearing silica in solution, the fluid dries and hardens in layers, forming round or egg shaped nodules or geodes within the rocky matrix. Agate is formed of a silica mineral chalcedony similar to quartz. The term carnelian primarily refers to the reddish shading of the stone; whether the stone is termed an agate or chalcedony type is often influenced by the degree of colour banding the specimen shows. The specimens are significant as examples of surveying activity undertaken to assess and direct the development of the mineral resource industries in Victoria and Australia, as well as the movement to expand human knowledge of earth sciences such as mineralogy and geology in the nineteenth century.Three small geological specimens that appear visually consistent with images of rough or unpolished Carnelian Agate or Chalcedony. geological specimen, geology, geology collection, burke museum, beechworth, indigo shire, north-east victoria, gemstones, agate, carnelian

Photo is identified on rear as ? Colin Key. Colin Hutchinson Key (1907-1939) was the son of Albert Key (1872-1921) and Isabella Roberts (1875-1940) and the grandson of Frederick Key (1842-1908) and Jane Key (nee Dalrymple 1845-1931) Suspect the photo is misidentified and is actually Albert Key, Colin Key's father. Cabinet Photo Eden, Society Studios Photographer If indeeed Colin Key, photo would have been taken c.1925. The fashion is more indicative of late 1890s - c.1896 [Cataloguing Note: Identification of individual does not fit the time period for the photographer by about 15 to 20 years - possibly misidentified. Eden Studios was big in Sydney from 1895 through 1927+ but only appears to have operated in Melbourne at 284 Collins Street from 1896-1900 and 149 Swanston Street 1904-1906. These individuals were Melbourne based so unlikely to be the Sydney studios. Further, does not look like the same person when compared to other photographs on Ancestry family trees]On back in pencil ? Colin Keycolin key, eden society studios photographer, colin hutchinson key, albert key, pam thoonen (nee ingram) collection

Photo is identified on rear as ? Robbie Key. Robert Dalrymple Key (1905-1972) was the son of Albert Key (1872-1921) and Isabella Roberts (1875-1940) and the grandson of Frederick Key (1842-1908) and Jane Key (nee Dalrymple 1845-1931) Suspect the photo is misidentified and is actually Albert Key, Robbie Key's father. Cabinet Photo Eden, Society Studios Photographer If indeeed Robbie Key, photo would have been taken c.1925. The fashion is more indicative of late 1890s - c.1898 [Cataloguing Note: Identification of individual does not fit the time period for the photographer by about 15 to 20 years - possibly misidentified. Eden Studios was big in Sydney from 1895 through 1927+ but only appears to have operated in Melbourne at 284 Collins Street from 1896-1900 and 149 Swanston Street 1904-1906. These individuals were Melbourne based so unlikely to be the Sydney studios. Further, does not look like the same person when compared to other photographs on Ancestry family trees]On back in pencil ? Robbie Keyeden society studios photographer, robbie key, robert dalrymple key, albert key, pam thoonen (nee ingram) collection

This sculpture is a bronze cast of Karl Duldig’s 1956 terracotta sculpture titled 'Moses'. The terracotta sculpture won the 1956 Victorian Sculptor of the Year award, an honor given by the Victorian Society of Sculptors. The National Gallery of Victoria purchased the original terracotta sculpture for the Gallery’s collection in 1956. In 1979 the NGV allowed Karl to cast the original terracotta sculpture in bronze (to a limited edition of 5). The National Gallery of Victoria holds one of these casts and one is in Duldig Studio collection. The original terracotta sculpture was exhibited in 1956 at the Olympic Arts Exhibition in Wilson Hall at the University of Melbourne. Two other works by Karl were also exhibited, a sandstone titled 'Adam and Eve' and a work titled 'Fountain'. The catalogue for the Olympic exhibition, which promoted modernism across a variety of disciplines, noted that Australia’s post war immigration program had given ‘further momentum to the modernist cause’. The identification of émigré artists, such as Karl Duldig, with the acceptance of modernism in Australia became a major theme in any discussion of art and design in the post war period. Ann Carew 2016The subject Moses and the tablets of law is an important theme in the history of art. For example the National Gallery of Victoria collection includes paintings on this topic by the Australian Aboriginal artist, Queenie McKenzie (1991), prints by the Russian-French modernist artist, Marc Chagall (1956), and a painting by 19th century British academic painter, John Rogers Herbert (1870s). Michelangelo’s sculpture of Moses is perhaps the most famous sculptural interpretation of the subject. In Karl’s hands we have a modern interpretation of the theme. His simplification and abstraction of form and attention to surface modeling is masterly. The figure has an emotional intensity and despite its relatively small scale, a ‘forceful monumentality’. The sculpture is aesthetically significant for its craftsmanship, expressive qualities and modernity. It is historically significant because of its associations with the 1956 Olympic Arts Festival. The Duldig Studio’s bronze cast of the sculpture was exhibited in the exhibition '1956: Melbourne, modernity and the XVI Olympiad, Museum of Modern Art at Heide.' Apart from the formal qualities of a work like Moses, its relevance as a motif in Judaism and Christian faiths ensures its place as a work of spiritual significance. Ann Carew 2016Bronze cast from terracotta sculpture. Depicts Moses as in Exodus 32 when he returns from Sinai with the tablets of the law to find his people worshipping the golden calf, in his fury he holds the tablets aloft above his head before crashing them down on the ground.

Pattern 1949 Khaki woollen battle dress blouse. Five front buttons. Two front pockets, one on the left and one on the right.Two buttoned epaulets with embroidered crowns signifying rank of Captain.Royal Australian Regiment patches sewn on the left and right shoulders. Belted at the waist..Two red patches on each shoulder embroidered with Royal Australian Regiment. Identification tag sewn on the inside at the back of the neck - Docket number - 39614-14. Size - J K + M Serge KH. Garment no. - 209. Remarks - Vanzwol or Vanswol, J handwritten on tag. Tag sewn inside left front panel - A.G.C.F. VIC 1988 ARMY NO. NAME B34 handwritten. Care states - dry clean only, crease upper half of lapels only.battle jacket, royal australian regiment, van swol, van zwol, vanswol, vanzwol