Underwear worn by women from the late 1800s to early 1900s.White cotton, fairly plain except for tiny lace edging around neckline. Five hand worked buttonholes. Two sharing darts each side of front.underwear, costume

Moustache was normal for 1800s as a large portion of the male population had a moustache.Coloured photograph of Moustache Cups owned by Pearce Family.|For view of cups see Np2630.pearce, ronald, harry, mary, edward, moustache cups

Moustache was normal for 1800s as a large portion of the male population had a moustache.Coloured photograph of details of two china moustache cups, (Internal view see Np2629) used by Pearce family.pearce, ronald, harry, mary, edward

Bath thermometers were used in both hospital and home nursing during the 1800s.Mary Howlett (1840-1922) began practising as a country midwife in 1866 in the western district of Victoria. She qualified as a 'ladies monthly nurse' in 1887 and continued to practise as a nurse and midwife until 1920.She began her six months training at the Melbourne Lying-In Hospital. She was known by many as 'Auntie', and her career spanned more than 50 years. Mrs Howlett's midwifery box and contents were given to Dr Frank Forster, and he donated them to the museum collection in 1993.Container for bath thermometer, consisting of base and lid. Cylindrical box made of tin with copper lining. Bath thermometer is missing.diagnostic instruments, midwifery

Dr Longden, a medical practitioner, was a significant figure in Buninyong history in the late 1800s.Brick buildings are prominent examples of Victorian era residences. Dr Longden was a prominent medical practitioner in Buninyong in the late 1800s.B/W photo of Dr Longden's (built circa 1898) and Sparling's former residences, Learmonth St west, Buninyong. Streetscape photo taken in 1993 of two brick residences.buninyong, longden, sparling, brick building, house, street scape, learmonth st

Roundabout is situated at the centre of the town. Shops in streetscape are a mixture of 1800s and 1900s construction.The streetscape is of historic and social significance, representative of a small country town.Original B/W photograph of roundabout at the corner of Learmonth and Warrenheip Sts, Buninyong. Streetscape of shops on the NE corner. buninyong, roundabout, warrenheip st, learmonth st, streetscape, shops

This photograph was taken during the late 1800s at the Chinese camp at Beechworth, Victoria. It was in camps such as these that many would-be gold miners made their home after arriving in Australia from across Asia. After arriving in South Australia where there was no poll-tax required of migrants as was the norm in Victoria and New South Wales, those looking to settle on the gold fields walked en mass overland for hundreds of kilometres before arriving in destinations such as Beechworth. Due to widespread prejudice against Chinese gold diggers they were forced to live separate from the town and developed enclaves much like the one depicted in the photograph. As the years progressed the Chinese camp began to construct more permanent structures and included temples of worship, shops and separate burial grounds. This photograph demonstrates the early multi-cultural aspects of Australia and Victoria during the late 1800s. It also showcases pressures and prejudices specific to the Chinese migrant community and the measures taken to separate them from the rest of the predominantly white community. It also reflects the gold-rush period and one of the first draws to Australia due to its mineral wealth. Black and white rectangular photograph developed on paperObverse: None Reverse: From the/Chinese Camp/84-80-1/1997-3221chinese camp, beechworth, houses, immigrants, gold mining, gold rush, late 1800s, chinese, asia

The onus contractual rules place on School Teachers both male and female in the late 1800s.card with a single microfilm insertteachers, contract, rules

A death mask is a plaster or wax mould made of a human face shortly after death (around 30 minutes after the execution). The intention was to capture the likeness of the individual and maintain their facial expression and features before these became distorted in death. They differ from their counterparts the life masks which were made to preserve the likeness of an individual while alive. Death masks were often replicated and sold to various institutions and private buyers. Death masks were created for a variety of reasons. Organisations like museums and scientific institutes collected these masks to support the study of phrenology. Phrenology is the study of the conformation of a skull in an effort to understand the mental faculties and traits of an individual. This was undertaken in a period in which it was argued that the shape of a head could provide detailed knowledge into personality. In addition, death masks were also created to aid effigy making, as tools for sculpture and as objects of veneration. Death masks were often placed on display as objects of curiosity. Edward “Ned” Kelly was convicted of murder on the 29th of October 1880 and executed by hanging on the 11th of November that same year. In the 1800s it was common practice for authorities to make a death mask of an executed criminal. In Kelly’s case, there were multiple copies made of his death mask, one of which is in the collection of the Burke Museum. Copies of the official death Mask (attributed to Maximilian Kreitmayer) have been made by artists including Max Meldrum (1875-1955). It depicts the head, neck and partial right shoulder of Ned Kelly. Whilst generally considered to be a ‘pseudoscience’ today, phrenology and the study of the reception and use of artefacts like Ned Kelly’s death mask, can provide valuable insight into a past era’s views of personality and the human body. This mask presents a unique three-dimensional depiction of Ned Kelly shortly after his execution which is unlike any other depiction of him. It can provide vital information as to the use of death masks in Victoria and their popularity in the 1800s. These masks were mostly done of criminals and used for exhibition purposes alongside phrenological study. Phrenologist AS Hamilton used Kreitmayer’s replication of the mask (displayed in Kreitmayer’s Bourke Street waxworks the day after Kelly’s death) to report a detailed phrenological analysis on Ned Kelly and concluded from his research that the deceased had an “enormous self-esteem”. Portraits of living people represent the way they themselves and/or the artists wished themselves to be remembered. The death mask contrasts this and therefore, creates a likeness of a person in their entirety and not just an ideal representation. Therefore, the study of such artefacts and their history of use and disuse can provide interesting information valuable to understanding the past. Colour rectangular photograph printed on gloss photographic paper.Obverse: Reverse: AGFA kelly album, ned kelly, death mask, kreitmayer, old melbourne gaol, phrenology, craneology, 1800s, pseudoscience, burke musuem, max meldrum

Monochrome portrait photograph of a man. He has a beard and bushy eye brows and sits with his face slightly in profile. He wears and double breasted jacket with a bow tie. His portrait is placed in an oval framed mount board which is in a rectangular wooden frame. The frame is painted dark brown but has a border of flowers and foliage picked out in gold colour.official portrait photography, civic portrait, mayor, portland mayor, 1800s

Worn by a local woman when working in South West Victoria in the late 1800s - early 1900sLadies outdoor bonnet, red cotton fabric with white spots. Bonnet is trimmed with frills and straps to tie under the chin. Dated late 19th to early 20th century.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ladies bonnet, outdoor bonnet, ladies clothing, late 19th century bonnet, 20th century bonnet, bonnet, 20th century, early 20th century bonnet

This cloth belonged to Anna Sptiz (the donor's mother in law) and was part of her trousseau in the late 1800s.Mixed lace cloth with cutwork and insertions of Needlelace and of Filet. There is a border of Cluny style bobbin lace.

This olive green bottle was handmade by a glassblower and is the typical shape of a ‘gallon’ type liquor bottle, which has the capacity of one-sixth of an imperial gallon, about 750ml. It was made around the mid-to-late 1800s. The bottle was recovered from an unnamed shipwreck in the coastal water of Victoria. It is part of the John Chance Collection. Glassblowers made bottles like this one by blowing into a long metal pipe or reed with a blob of molten glass at the end of it. The shape of the glass would be blown out to fit into the shape of the mould. Once it set, the glass was removed from the mould and the glassblower would continue using the pipe to create the neck and another tool to finish the base. The bottle would be cracked off the end of the glassblower’s pipe and a blob of molten glass would be added to the top to form the mouth and lip of the bottle. The seal was usually a cork, often held in place with tape. Although the bottle is not linked to a particular shipwreck, it is recognised as being historically significant as an example of bottles imported for use in Colonial Victoria in the mid-to-late 1800s. The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal water in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle, dark olive green glass, tall thin Gallon type. Lip is straight, deep, with thin horizontal lines in glass. Neck has gradual flare, body has side seams, heel has uneven thickness, and base is concave, without pontil mark. No inscriptions. Glass has imperfections. Handmade in mould. Body has score marks and is worn down one side. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, handmade, mouth blown, pontil mark, blown bottle, liquor bottle, 19th century bottle, collectable, olive glass, green glass, mould, 1800s bottle

This olive green bottle was handmade by a glassblower and is the typical shape of a ‘gallon’ type liquor bottle, which has the capacity of one-sixth of an imperial gallon, about 750ml. It was made around the mid-to-late 1800s. The bottle was recovered from an unnamed shipwreck in the coastal water of Victoria. It is part of the John Chance Collection. Glassblowers made bottles like this one by blowing into a long metal pipe or reed with a blob of molten glass at the end of it. The shape of the glass would be blown out to fit into the shape of the mould. Once it set, the glass was removed from the mould and the glassblower would continue using the pipe to create the neck and another tool to finish the base. The bottle would be cracked off the end of the glassblower’s pipe and a blob of molten glass would be added to the top to form the mouth and lip of the bottle. The seal was usually a cork, often held in place with tape. Although the bottle is not linked to a particular shipwreck, it is recognised as being historically significant as an example of bottles imported for use in Colonial Victoria in the mid-to-late 1800s. The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal water in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle, dark olive green glass, tall thin Gallon type. Lip is double; rounded upper, flared lower. Neck is slightly bulbous. Body has shoulder seam, then tapers inwards to base. Concave base with small pontil mark. No inscriptions. Handmade in mould. Body has sediment inside, top to bottom. Glass is worn down one side. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, handmade, mouth blown, pontil mark, blown bottle, liquor bottle, 19th century bottle, collectable, olive glass, green glass, mould, 1800s bottle, bulbous neck

This olive green bottle was handmade by a glassblower and is the typical shape of a ‘gallon’ type liquor bottle, which has the capacity of one-sixth of an imperial gallon, about 750ml. It was made around the mid-to-late 1800s. The bottle was recovered from an unnamed shipwreck in the coastal water of Victoria. It is part of the John Chance Collection. The elongated bubbles in the glass are likely from the glass being blown into a mould. Glassblowers made bottles like this one by blowing into a long metal pipe or reed with a blob of molten glass at the end of it. The shape of the glass would be blown out to fit into the shape of the mould. Once it set, the glass was removed from the mould and the glassblower would continue using the pipe to create the neck and another tool to finish the base. The bottle would be cracked off the end of the glassblower’s pipe and a blob of molten glass would be added to the top to form the mouth and lip of the bottle. The seal was usually a cork, often held in place with tape. Although the bottle is not linked to a particular shipwreck, it is recognised as being historically significant as an example of bottles imported for use in Colonial Victoria in the mid-to-late 1800s. The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal water in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle, dark olive green glass, tall thin Gallon type. Mouth is applied roughly, lip is straight and narrow. Body has no visible seams; tapers gently inwards to base. Concave base is deep and has a pontil mark. No inscriptions. Handmade bottle has elongated air bubbles and imperfections in glass.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, handmade, mouth blown, pontil mark, blown bottle, liquor bottle, 19th century bottle, collectable, olive glass, green glass, mould, 1800s bottle

View of Charing Cross and Pall Mall Bendigo, featuring the Alexandra fountain still under construction. The fountain was jointly funded by the Bendigo Juvenile Industrial Exhibition in 1879, a 500 pound donation by George Lansell and a 700 pound grant from the Sandhurst City Council. The fountain was designed by William Vahland and was opened 5/7/1881. The fountain is 28 feet tall and sits in a 2 feet deep pond that is 50 feet in diameter. It was built with 22 tons of Harcourt granite, cast iron and painted stone.8531 A4 B&W photograph of Charing Cross and Pall Mall, Bendigo, in the late 1800s (prior to automobiles); taken from the City Family Hotel. Photograph shows work underway on the Alexandra Fountain at Charing Cross. Photo shows three trams, pedestrians and some horse drawn vehicles. Pall mall shows Post Office, Shamrock hotel and TAFE towers.charing cross, post office

A lot of safety cages were developed in 1800s. Grippers on the cages acted to prevent the cages from "free fall" when the cables broke.Model of mining cage, metal construction, with safety cage not in working order.bendigo, gold mining, mining cage model

A lot of safety cages were developed in 1800s. Grippers on the cages acted to prevent the cages from "free fall" when the cables broke.Model of mining cage, metal construction, with safety cage in working order with ore truck. Made by Benedict Branch, won a medal at the Juvenile Tasmanian Industrial Exhibition (1883)bendigo, gold mining, mining cage model

Glenelg Shire Council records. Built on land gazetted for defence purposes in the 1840s, Portland Battery was constructed in 1889 to defend Victoria against the feared Russian invasion. Batteries were also constructed at Warrnambool and Port Fairy during this period. The Battery comprises a magazine, upper chamber, a parapet wall, and three gun emplacements. In 1984 the Battery underwent a major restoration. The underground magazine and lamp passage are currently not accessible to the public.Picture of Cannon, Low Moore 68 lb, 1861, Battery Point, South Portland.portland battery, cannon, munition, fortifications, magazine, 1800s

CEMA Art Collection Previously located in History HousePortrait of Queen Victoria depicting her torso and head. She looks to her right and is shown in an almost profile view. Dressed in black with a white collar, she wears a blue and white band in her hair. She wears a small gold earring, black choker with gold locket and a brooch with a man's portrait. The work has a gilded frame with some decoration and exposed canvas.Front: J.A.BRIGGS Queen Victoria, 1838-1901 Back: Painted by J A Briggs 1897queen victoria, 1800s, portrait, portrait painting, female, female portrait

Dark timber frame with a glass front. Inside is a piece of timber taken from the Portland Drill Hall. Underneath the mounted timber is a label with the Glenelg Shire logo on it.Label: Identification Mark by the Portland Drill Hall (orderly room) carpentry contractor G. & A. Findlay. Dated 16 February 1888 Piece of timber in pencil script: G. & A Findlay/ 16 Feb / 1888portland drill hall, portland, findlay, portland builder, portland businesses, 1800s

Drawing of Portland Bay showing the proposed harbour. Portland town centre is shown as it Portland Botanic Gardens and Battery Hill.Top left: Victorian Harbours / Portland / Plan Shewing Works Recommended by / Sir John Coode / in his report dated Dec r 1879 / The proposed works shown by red colour / the extensions to be undertaken in the first instance across by red colour / subsequent extensions and reclamations are coloured brown Top Right: Drawing No. 2 Portland Borough Council stamped top leftportland harbour, sir john coode, portland, plans, drawings, 1800s