The Border Inn located on the corner of Main Street and Graham Street Bacchus Marsh opened in 1851 making it a very early hotel in Victoria. It was built and owned by John Pilmer. The first licensee was James Watt. The building has been added to and changed many times. It was originally a single storey building. A second storey was added in 1863 by John Pilmer. In 1866 the hotel was purchased by Edward Jones. The Jones family owned and operated the hotel until 1939. Additional second storey sections were added in 1883, 1904 and 1936. For a number of years the Border Inn was a stopping post for coaching services between Melbourne and Ballarat. The first licensee of the hotel James Watt was among the first in Victoria to offer a regular coaching service and his hotel was used for overnight accommodation by coach travellers. At the time this picture was taken coach services were still operating between Bacchus Marsh and other locations. The coach in this picture is possibly one of those coaches.This building has been documented as of state significance by Richard Peterson and Daniel Catrice in their 1995 heritage study for the then Shire of Bacchus Marsh. Their assessment of the heritage significance of the building was: "The Border Inn is of state historical significance as a pioneering pre-gold rush building, on the route to the Ballarat goldfields. It is the representative-embodiment of several historical periods and their way of life. It demonstrates a complex changing sequence of patterns of occupancy and architectural styles. Its development at this location, demonstrates the effect of a social movement, the gold rush, as a transport stopover.It is also historically significant for its association with the first rural public transport in Victoria. Locally, the hotel is significance for its association with the first meeting of municipal government, and also for its social significance as a traditional community, visitor focus and meeting place".Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. The image shows the Border Inn Hotel at an angle depicting the front of the building facing directly to the camera. It is a two storey brick building, with one-story additions at either end. Five chimneys can be seen extending from the building. The bottom storey has a verandah extending onto the footpath. A covered wagon, probably a coach, with four horses in harness is in front of the building. There are several people in the image. Two people are sitting on the driver’s seat of the wagon. Another man is standing holding the reins of the horses. At his feet is a dog. Behind them are two male adults. One is holding a small child. A young boy stands beside him.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, hotels bacchus marsh, border inn hotel bacchus marsh, carriages and coaches, stagecoaches, james watt bacchus marsh, john pilmer bacchus marsh, edward jones family bacchus marsh

Thomas Ham was a cartographer, engraver, lithographer and publisher in Victoria and Queensland. He compiled and printed several editions of his squatting map, beginning with A map of Australia Felix in 1847 and changing its title to Ham's squatting map of Victoria in 1851. The 1851 edition was accompanied by a key listing the names of all the squatters within squatting districts and counties. Later editions show the existing counties, but some areas of Gippsland and the Australian Alps are still described as 'unsurveyed country'. (State Library Victoria https://www.slv.vic.gov.au/squatting-map-victoria)Folding map enclosed in burgundy cover. Map backed by cloth and bound. Rare, early map of Victoria and neighbouring Port Phillip District of New South Wales. Written on bottom RH corner of map: Ham's Squatting Map of Victoria ( Port Phillip District, New South Wales ) carefully corrected to this date from the Colonial Government Surveys, Crown Lands, Commissioners & Explorers Maps, Private Surveys & c. Respectfully inscribed (with permission ) to His Excellency Sir Chas A. Fitz-Roy Knt, Governor of New South Wales &c &c by his Obedient Servant, The Compiler, 1851. Compiled, engraved and published by Thomas Ham, Melbourne. Proposed and original boundary ( in legend) have been coloured in in blue and pink ink ( later addition ?) Number on map show 'reference to proprietor's Printed on back of map ' J.G. AD 1852, with two cross hatched decorations and two hearts entwined. On other back panel in pencil enclosed in a drawn frame ' G.S.H., 1889, Axedale' (George Harris, Axedale, belongs in Harris Collection) Stamped in purple ink 'Royal Historical Society of Victoria, Bendigo Branch. Written 1959, 53.map, victoria, squatting map

This journal provides the reader with glimpses of the adventures and hardships of a seaman's life. Many of the stories are of sailing ships.Contributes to our knowledge of the importance of shipping and places on record those stories of the sea which would otherwise be lost.Contents Foreword - Ranald MacDonald - 5 Editorial - - 7 Early Settlements in Victoria - The Late George R. Leggett - 9 Sailors From The Sea - Jean M. MacKenzie - 11 The Wreck Of The Newfield - - 16 The Mosquito Fleet - George F. Lay - 19 "Pilot Missing" A Tragedy of Port Phillip - The Late Capt. Hartley R. Watson - 24 H.M.A.S. Psyche - D. Ricketts - 29 S.V. Eye of the Wind - Captain Richard Grono - 35 HMAS Shropshire in the Philippines Pt. 1 - F. Hoolahan - 43 Genius Who Also Builds Ships - J.B. Thomson - 49 Around the Devon Coastline - S.J. Buckland - 57 When She Sank a Fortune Went With Her - E. Harper - 64 The Heaving Line - R.N. Thiele - 67 The Falls of Clyde in the Twenties - Capt. F.S. Moody, Jr. - 75 Memories of the Audiffred Building San Francisco - Capt. Fred Klebingat - 79 The Wreck of a Sloop - The Late Captain R.G. Edwards - 94 Deep Sea to San Pedro - W.P. Shemmeld - 98 First Fleet re-enactment Voyage - - 107 Book Reviews - - 108sailing ships, steamships, shipping, seafaring life, shiplovers' society of victoria, dog watch

The early settlers of Victoria depended on horse drawn vehicles to farm, make roads and railways, deliver produce and transport people. Horse harnesses were an important requisite for all drivers and could be found wherever there were working horses. Horse Harnesses have played an essential role in different cultures throughout history. Simple, utilitarian horse harnesses made of leather straps and iron rings were being used in early China before AD 500 as well as ancient Greece and Rome allowing horses to pull chariots and ploughs. The Greeks and Romans were the first to use a "horse collar" which distributed the weight of the harness evenly across the horse's chest rather than relying on a "throat harness" that could damage a horse's throat or choke them. During the medieval period, European horse harnesses became more elaborate and decorative. Variations of different horse harnesses were also found in Native American and Middle Eastern cultures. Horse Harnesses usually have four basic components which include - 1. Communication - the bridle, bit and reins allows the driver to communicate instructions and commands to the horse, guiding its movement and direction. 2. Draft - the collar, hame straps, hames, traces and chains enables the horse to draw and pull the load efficiently by distributing the weight and transferring the pulling force to the vehicle. 3. Stopping - the breeching band, pole straps and breast strap helps to control or stabilise the horse and vehicle when moving downhill or stopping. 4. Support - the back pad, backband, belly band and back saddle keep the harness in the correct position and proper alignment. This dray harness is a plain, basic harness and reflects its working class origins. It was used by Mr. Oswald (Jack) Bourke with his horse and dray to firstly deliver drygoods from Sunbury to Melbourne in the 1930's and later (through the 1940's and 1950's up to 1961) when he worked on the garbage round for the Springvale City Council. This horse harness is a significant example of the equipment that was needed wherever horses were being used - particularly in the early years of Victoria's settlement by white settlers. Harnesses such as this example were used with drays, farming equipment, delivery carts and personal transportation.A leather and metal horse harness used with a horse and dray circa 1930's to the early 1960's. It is made up of a number of components. 1. A leather bridle with metal buckles and rings, blinkers and a metal single jointed, snaffle bit that has the initials M B stamped onto the leather. 2. A leather bridle with metal buckles and rings and a metal "straight bar" Eggbut snaffle bit. It has an elongated X design (with 4 dots) stamped onto the leather strap holders near each buckle. 3. A blue and white vinyl halter with one leather patched strap. The nose band and a chin strap are covered with woollen padding. 4. A pair of leather shaft protectors. They have lacing holes along each edge and a repeating design of small shapes (flowers, wings, crosses and arrowheads) which run along the front of each protector. 5. A leather strap with a stainless steel chain and catch and a maker's mark for "Glenn's Leather Goods, Pearcedale Victoria" stamped onto the end. 6. A wide leather strap covered with a webbing sleeve. It has two large metal rings and each end and one ring has a rope attached. 7. A leather strap comprised of three separate sections (two shorter and one longer) joined with two metal rings. The longer section has notches along its length and the shorter section at the other end has a buckle. It also had a maker's mark stamped on it but the mark is very worn and the writing is difficult to read. 8. An adjustable leather horse collar with two buckles and straps at the top opening and two "B's" stamped into the leather. The top of the collar is made from treated leather pieces stitched together and the underneath of the collar is untreated leather. It has a padded indentation running all the way around the collar for the hames to sit in. 9. Two pairs of long leather traces - each having a buckle and notched section at one end and each one is made with three lengths of leather spliced together. 10. A leather strap (with one spliced join) belonging to a horse harness with two shorter straps (each ending with a metal clip) attached to a steel D ring at one end. 11. Three assorted short leather straps - the top one has clips at each end and a buckle (for adjusting the length) in the centre, the middle strap has notches and a buckle and the bottom strap is white with notches and a buckle.Bridle with blinkers - "M B" Bridle - design showing an elongated X with a dot in each section stamped onto strap holder Shaft Protectors - stamped design of flowers, wings, crosses and arrowheads Strap with chain - "Glenn's leather goods / Pearcedale / Victoria" Leather Strap (with two metal rings) - Maker's stamp - "name indecipherable / SADDLER / ...OURNE" Collar - "B / B" Leather strap - flagstaff hill maritime museum and village, warrnambool, great ocean road, sunbury, springvale, dray, delivery dray, harness, horse harness, horse drawn vehicles, working horse, oswald (jack) bourke, bridle, horse collar, hames, shaft protectors

"Strathtulloh, 1402-1600 Greigs Road, Melton South, is significant as an early property in Victoria, retaining different eras of pioneering dwellings, ranging from a ruin to a fine Colonial style homestead. The property has close historical association with the early settlement of the Melton district, and was owned by the Henty family in the 1840s. The Strathtulloh property was alienated by the Crown in 1840 to Charles James Garrard, who sold it in 1848 to Charles and Stephen Henty, whose sister Jane and her husband Samuel Bryan lived there in the late 1840s. In 1853 the property then passed to William Tulloh, after whom the homestead was named. A primitive bluestone ruin of near the Toolern Creek, built of vesicular bluestone and mud mortar, is of unknown origin. It has commonly been assumed to pre-date 1840, and to have belonged to the original holder of the Exford lease, Dr Watton or Port Phillip Association member Dr Cotterill. This is unlikely, as the 1841 census records Dr Watton, and everyone else in the district, as living in a ‘wood’ dwelling. It may instead have been the residence of Garrard, and the Bryans, in the 1840s and an early map names a site near here as ‘Bryan’s outstation’. It is assumed that the two-level stone building that became the kitchen is the earliest intact building on the site, and was the first homestead; it is likely to date to the 1840s or 1850s. The main homestead is a substantial villa constructed of random coursed bluestone, with a verandah facing three sides, attic bedrooms with dormer windows, a fan light over the front door, a hipped roof originally clad in slate, and a large cellar. Although demonstrating characteristics of pioneering construction, such as unworked log beams, pit sawn beams, hand-sawn lintels and colonial door locks, documentary evidence shows that it was built c.1869. The homestead has now been structurally repaired and decoratively restored; a sympathetic new semi-detached rear extension was added in the early years of the 21st century. The former kitchen building has also undergone minor repairs and alterations". Strathtulloh Homestead at 1402-1600 Greigs Road, Melton Southlocal architecture

This magnetic compass is a good size to fit easily into a person's pocket or personal luggage and is protected from knocks by its wooden case. It could have been used for reference when travelling on land or sea. There is no visible manufacturer's mark, which may mean that it was not of high monetary value. Leith is a district of Edinburgh in the country of Scotland, the U.K. It was once the Port of Edinburgh and many migrant ships departed from here bound for the Australian colony. It had a busy shipbuilding industry, with wet and dry docks. It appears from the inscription on the case "Chas Gray, LEITH, 1839" that this pocket compass once belonged to Charles M. Gray (Chas is a common abbreviation for the name Charles). The inscription coincides with the name, place and date that the Western Victorian pioneer Charles M. Gray left Scotland and arrived in Australia. Charles Gray was born in Anstruther, Scotland, in 1818. His family was connected with the Royal Marines, which may have created his nautical instruments such as this pocket compass. Charles Gray arrived in Hobson's Bay on 15 June 1839 on the ship “Midlothian”. That same ship had departed from Leith, Scotland on February 15th 1839. Did Charles Gray acquire the pocket compass in Leith, perhaps as a gift or a souvenir of his motherland? Charles Gray was an early squatter and went on to become a very successful settler as a sheep pastoralist in the Western District of what is now Victoria (originally the colony of New South Wales). He and his wife had a large property called “Nareeb Nareeb”, Green Hill Creek District (now Glenthompson), Victoria, from 1840-1886. He was also a local Councillor and Justice of the Peace, and had an interest in the local indigenous people; he named his property after their tribe. Charles returned to England in 1890 and died there in 1905. Charles Gray had written an account in 1890 of his life at Nareeb Nareeb, called Western Victoria in the Forties: "REMINISCENCES OF A PIONEER The Western District in the 1840's By Charles Gray" , a valuable historical reference to colonial Victoria. His book was published by the Hamilton Spectator in 1932. Charles Gray's photograph is one of 713 historical photographs of early Victorian settlers, created as a montage by Thomas Foster Chuck in 1872. The State Library of Victoria holds the framed montage titled “The Explorers and Early Colonists of Victoria”. To qualify for inclusion on this montage the Settlers must have arrived in Victoria before 1843. Charles Gray's photograph is number 349! The pocket compass is associated with Charles Gray, one of the early squatters and settlers in Western Victoria, possibly given to him as a parting gift on his emigration to Van Diemans land in 1839. The item is very significant as it's connection with one of Victoria's early pioneers is well provenanced by the inscriptions on the wooden case. Pocket compass, brass, set into a square wooden case with hinged lid and small hook catch. Compass is marked with 360 degrees and compass points and has two pointers; one to show magnetic north and one to set the direction of travel. Hinges are triangular and inset into the wood. The lid has an attached brass plaque with the inscription "Chas Gray, Leith, 1839" (It likely belonged to Charles Gray, Leith, UK, who migrated to Port Philip Australia in 1839 and became a successful pastoralist.) “Chas Gray / LEITH / 1839” engraved on brass plaque on lid.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, magnetic compass, pocket compass, charles m. gray, chas gray, migrrant from leith 1839, charles gray anstruther, scottland, ship midlothian 1839, squatter western victoria, settler western victoria, hobson's bay port phillip australia, charles gray nareeb nareeb - green hill creek district, western victoria in the forties: reminiscences of a pioneer by charles m. gray 1890, leith edinburgh u.k., western victoria in the forties: reminiscences of a pioneer - montage by thomas foster chuck 1872, charles gray, reminiscences of a pioneer, the western district in the 1840's, compass, scientific instrument, nautical instrument, direction, directional compass, navigation

The early settlers of Victoria depended on horse drawn vehicles to farm, make roads and railways, deliver produce and transport people. Horse harnesses were an important requisite for all drivers and could be found wherever there were working horses. Horse Harnesses have played an essential role in different cultures throughout history. Simple, utilitarian horse harnesses made of leather straps and iron rings were being used in early China before AD 500 as well as ancient Greece and Rome, allowing horses to pull chariots and ploughs. The Greeks and Romans were the first to use a "horse collar" which distributed the weight of the harness evenly across the horse's chest rather than relying on a "throat harness" that could damage a horse's throat or choke them. During the medieval period, European horse harnesses became more elaborate and decorative. Variations of different horse harnesses were also found in Native American and Middle Eastern cultures. Horse Harnesses usually have four basic components which include - 1. Communication - the bridle, bit and reins allows the driver to communicate instructions and commands to the horse, guiding its movement and direction. 2. Draft - the collar, hame straps, hames, traces and chains enables the horse to draw and pull the load efficiently by distributing the weight and transferring the pulling force to the vehicle. 3. Stopping - the breeching band, pole straps and breast strap helps to control or stabilise the horse and vehicle when moving downhill or stopping. 4. Support - the back pad, backband, belly band and back saddle keep the harness in the correct position and proper alignment. This show harness was used by Mr. Andy Bourke when showing his Clydesdales at shows or demonstrations. Although a more modern example with decorative embellishments, it still has many essential components traditionally found in an everyday working horse harness. The original purpose of the "housen" for example, was to run rain or drizzle off the horse's neck when they had to work in wet conditions - it was laid flat for this purpose on the top of the collar. Nowadays it is purely for show and is often used to advertise a business or stud. Horse brasses and fly terrets were fastened to various parts of a horse's harness. In the early days they probably began as amulets to ward off evil and to bring good luck and continued to be used as a festive decoration. The heyday of horse brasses was between the years 1851 and 1900. Horse brasses are fastened to various parts of the harness with many of their designs being symbolic. The ornamentation on this harness (although not authentic horse brasses) are based on the horse brasses that were popular in the 19th century. This horse harness is a significant example of the equipment that was needed wherever heavy horses were being used - particularly in the early years of Victoria's settlement by white settlers. Harnesses such as this example were used with stage coaches, drays, farming equipment, delivery carts and personal transportation.A leather and metal horse harness used when showing a Clydesdale (or other breed of heavy horse). It is made up of a number of components. 1. Decorative leather cart saddle with two large cloth pads underneath (which have a scalloped leather and stud border), a raised leather pommel and a silver and red coloured metal back strap holder across the top. It has two symmetrical sets of ornamentation (silver hearts and circles) in the front and a wide strap or girth (with a maker's stamp reading "R. Mitchell Saddler") and buckle which attaches the saddle to the horse. 2. Pair of steel hames which are gently curved (to fit on a horse collar) and are topped with steel knobs. They have several steel rings and lugs (to hold straps and chains) and a "Made in England Warranted Steel" stamp. 3. Breeching harness which consists of a number of leather straps, chains and metal rings including a wide padded leather strap with a scalloped edge that sits on the back of the horse and a thick leather strap that goes around the hind quarters of a horse which is joined to the back strap with four shorter vertical straps and buckles. These straps feature silver and red patent leather trim and silver heart shaped ornamentation. The strap also features the maker's stamp of "R. Mitchell". 4. Decorative leather bridle with blinkers featuring the same silver and red patent leather trim on the cheek piece, brow band and throatlatch. It has a stainless steel "Liverpool Driving Bit" with a curb chain, a variety of decorative silver ornaments (rosettes, diamonds plus a heart and two circles) on each end of the forehead band, dropper and strap as well as a silver metal bell (sometimes known as a "fly terret" or "swinger") that sits on the headpiece of the bridle. 5. Leather "violin shaped" dropper (or hanger) with two silver rosette shaped ornaments and a stainless steel clip on the top 6. Stainless steel "Liverpool Driving Bit" with a straight mouthpiece which is ribbed on one side. It has three rein spots (spaces) and a curb chain. 7. Leather arch shaped "Housen" covered in black and red patent leather and decorated with silver studs (some spelling out F H) and bordered with a red fringe. It has a leather strap at the back and two leather loops on the front. 8. Leather padded backband (Australian style "Stallion Draught Roller") decorated with two groups of nine metal "horse brasses" or harness ornaments displaying horseshoe, starburst and horse head designs on blue, red and white striped webbing. The backband has three notched straps at each end, a buckle near the centre and the initial B stamped in two places underneath. 9. Bellyband made of leather and red, white and blue striped webbing. It has a set of three buckles at each end (which correspond with the notched straps of the backband). 10. Wide, thick leather strap which has a buckle and notches at each end. It also has the maker's stamp of "R. Mitchell Saddler". 11.One pair of long leather traces - each with a buckle and notched loop at one end, decorated with a small silver diamond shaped harness ornament. 12. Length of stainless steel heavy duty chain with two swivel connectors.Saddle - "R.MITCHELL / SADDLER" Hames - "MADE IN ENGLAND / WARRANTED / STEEL" "MADE IN ENGLAND / WARRANTED / unclear" Breeching Straps - "R. MITCHELL / MAKER / R. MITCHELL MAKER" Housen - "F H" Backband "B / B' Wide leather strap - "R. MITCHELL / SADDLER"flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, harness, horse harness, show harness, clydesdale horses, andy bourke, horse drawn cart, housen, bridle, hames, breeching straps, dropper, bit, liverpool bit, backband, harness ornamentation, bellyband, back saddle, fly terret

Queen Victoria was born at Kensington Palace, London, on 24 May 1819. She was the only daughter of Edward, Duke of Kent, the fourth son of George III. Her father died shortly after her birth and she became heir to the throne because the three uncles who were ahead of her in the succession - George IV, Frederick Duke of York, and William IV - had no legitimate children who survived. Warmhearted and lively, Victoria had a gift for drawing and painting; educated by a governess at home, she was a natural diarist and kept a regular journal throughout her life. On William IV's death in 1837, she became Queen at the age of 18. Queen Victoria is associated with Britain's great age of industrial expansion, economic progress and, especially, empire. At her death, it was said, Britain had a worldwide empire on which the sun never set. In the early part of her reign, she was influenced by two men: her first Prime Minister, Lord Melbourne, and then her husband, Prince Albert, whom she married in 1840. Both men taught her much about how to be a ruler in a 'constitutional monarchy, in which the monarch had very few powers but could use much influence. Albert took an active interest in the arts, science, trade and industry; the project for which he is best remembered was the Great Exhibition of 1851, the profits from which helped to establish the South Kensington museums complex in London. Her marriage to Prince Albert produced nine children between 1840 and 1857. Most of her children married into other Royal families in Europe. Edward VII (born 1841), married Alexandra, daughter of Christian IX of Denmark. Alfred, Duke of Edinburgh and of Saxe-Coburg and Gotha (born 1844) married Marie of Russia. Arthur, Duke of Connaught (born 1850) married Louise Margaret of Prussia. Leopold, Duke of Albany (born 1853) married Helen of Waldeck-Pyrmont. Victoria, Princess Royal (born 1840) married Friedrich III, German Emperor. Alice (born 1843) married Ludwig IV, Grand Duke of Hesse and by Rhine. Helena (born 1846) married Christian of Schleswig-Holstein. Louise (born 1848) married John Campbell, 9th Duke of Argyll. Beatrice (born 1857) married Henry of Battenberg. Victoria bought Osborne House (later presented to the nation by Edward VII) on the Isle of Wight as a family home in 1845, and Albert bought Balmoral in 1852. Victoria was deeply attached to her husband and she sank into depression after he died, aged 42, in 1861. She had lost a devoted husband and her principal trusted adviser in affairs of state. For the rest of her reign she wore black. Until the late 1860s she rarely appeared in public; although she never neglected her official Correspondence, and continued to give audiences to her ministers and official visitors, she was reluctant to resume a full public life. She was persuaded to open Parliament in person in 1866 and 1867, but she was widely criticised for living in seclusion and quite a strong republican movement developed. Seven attempts were made on Victoria's life, between 1840 and 1882 - her courageous attitude towards these attacks greatly strengthened her popularity. With time, the private urgings of her family and the flattering attention of Benjamin Disraeli, Prime Minister in 1868 and from 1874 to 1880, the Queen gradually resumed her public duties. In foreign policy, the Queen's influence during the middle years of her reign was generally used to support peace and reconciliation. In 1864, Victoria pressed her ministers not to intervene in the Prussia-Denmark war, and her letter to the German Emperor (whose son had married her daughter) in 1875 helped to avert a second Franco-German war. On the Eastern Question in the 1870s - the issue of Britain's policy towards the declining Turkish Empire in Europe - Victoria (unlike Gladstone) believed that Britain, while pressing for necessary reforms, ought to uphold Turkish hegemony as a bulwark of stability against Russia, and maintain bi-partisanship at a time when Britain could be involved in war. Victoria's popularity grew with the increasing imperial sentiment from the 1870s onwards. After the Indian Mutiny of 1857, the government of India was transferred from the East India Company to the Crown, with the position of Governor-General upgraded to Viceroy, and in 1877 Victoria became Empress of India under the Royal Titles Act passed by Disraeli's government. During Victoria's long reign, direct political power moved away from the sovereign. A series of Acts broadened the social and economic base of the electorate. These acts included the Second Reform Act of 1867; the introduction of the secret ballot in 1872, which made it impossible to pressurise voters by bribery or intimidation; and the Representation of the Peoples Act of 1884 - all householders and lodgers in accommodation worth at least £10 a year, and occupiers of land worth £10 a year, were entitled to vote. Despite this decline in the Sovereign's power, Victoria showed that a monarch who had a high level of prestige and who was prepared to master the details of political life could exert an important influence. This was demonstrated by her mediation between the Commons and the Lords, during the acrimonious passing of the Irish Church Disestablishment Act of 1869 and the 1884 Reform Act. It was during Victoria's reign that the modern idea of the constitutional monarch, whose role was to remain above political parties, began to evolve. But Victoria herself was not always non-partisan and she took the opportunity to give her opinions, sometimes very forcefully, in private. After the Second Reform Act of 1867, and the growth of the two-party (Liberal and Conservative) system, the Queen's room for manoeuvre decreased. Her freedom to choose which individual should occupy the premiership was increasingly restricted. In 1880, she tried, unsuccessfully, to stop William Gladstone - whom she disliked as much as she admired Disraeli and whose policies she distrusted - from becoming Prime Minister. She much preferred the Marquess of Hartington, another statesman from the Liberal party which had just won the general election. She did not get her way. She was a very strong supporter of the Empire, which brought her closer both to Disraeli and to the Marquess of Salisbury, her last Prime Minister. Although conservative in some respects - like many at the time she opposed giving women the vote - on social issues, she tended to favour measures to improve the lot of the poor, such as the Royal Commission on housing. She also supported many charities involved in education, hospitals and other areas. Victoria and her family travelled and were seen on an unprecedented scale, thanks to transport improvements and other technical changes such as the spread of newspapers and the invention of photography. Victoria was the first reigning monarch to use trains - she made her first train journey in 1842. In her later years, she became the symbol of the British Empire. Both the Golden (1887) and the Diamond (1897) Jubilees, held to celebrate the 50th and 60th anniversaries of the Queen's accession, were marked with great displays and public ceremonies. On both occasions, Colonial Conferences attended by the Prime Ministers of the self-governing colonies were held. Despite her advanced age, Victoria continued her duties to the end - including an official visit to Dublin in 1900. The Boer War in South Africa overshadowed the end of her reign. As in the Crimean War nearly half a century earlier, Victoria reviewed her troops and visited hospitals; she remained undaunted by British reverses during the campaign: 'We are not interested in the possibilities of defeat; they do not exist.' Victoria died at Osborne House on the Isle of Wight, on 22 January 1901 after a reign which lasted almost 64 years, then the longest in British history. Her son, Edward VII succeeded her. She was buried at Windsor beside Prince Albert, in the Frogmore Royal Mausoleum, which she had built for their final resting place. Above the Mausoleum door are inscribed Victoria's words: "Farewell best beloved, here, at last, I shall rest with thee, with thee in Christ I shall rise again." Source: https://www.royal.uk/queen-victoria This picture captures Queen Victoria in her later years. It may well have been painted to commemorate her Golden Anniversary in 1887, or her Diamond Anniversary in 1897.Picture, print, reproduction of a drawing or photograph of Queen Victoria. She is wearing a dark-coloured dress, white headdress and a diamond necklace and earrings. On her left shoulder is the Royal Order of Victoria and Albert, awarded to female members of the British Royal Family and female courtiers. There are four grades or classes of this Royal Order as well as the Sovereign's Badge, which is exclusive to her. Also across her left shoulder, is a blue riband representing the Order of the Garter. The picture is in a medium-coloured timber frame with a white string across the width at the rear. The label says it was framed by Hoy Art, Warrnambool. The signature of the Queen is on the picture but is not obvious since the picture has been re-framed."HOY ART / PICTURE FRAMING / 48 Kepler St, Warrnambool 3280 / Phone (055) 62 8022" Signature (hidden by new framing) "Victoria H.R.S."flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, picture of queen victoria, queen victoria, the royal order of victoria and albert, the order of the garter, hoy art

St Margaret’s Church of England was officially opened on December 12, 1861. It is the oldest intact church building in Eltham. At the time it was known as Christ Church until its consecration in 1871, when it was completely free of debt (£1,700 for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including locally made bricks donated by local artisans and others. The church is historically significant because it is the oldest church in the former Shire of Eltham and has associations with the philanthropist and founder of Brighton, Henry Dendy (who donated the land on which the church is built), the architect Nathaniel Billing and the prominent local builder, George Stebbing. The church is architecturally and aesthetically significant because it is constructed in the Gothic Revival style with several stained-glass windows of various dates and is also a very early use of polychromatic brickwork in Victoria. Billing was one of the first Melbourne architects to employ polychromatic brickwork and an important early architect. The rear wall was intended to be temporary. A major feature of the design is the large buttresses with long, steeply graded upper faces. The overall design is well proportioned with the surface brick patterns relieving an otherwise austere design. The church is spiritually and socially significant because it has been an important place of worship for the people of Eltham for almost 150 years. The land on which the buildings stand was donated by Henry Dendy. Dendy arrived in Melbourne in 1841 after purchasing in England eight square miles at Brighton under the system of "special surveys". After this land passed out of his hands, Dendy moved about Victoria, visited England, then returned to settle in Eltham where he purchased a flour mill. Dendy chaired the meeting held in 1860 “for the purpose of devising such means as may be expedient for the establishment of a Church of England in the township of Eltham”. He became chairman and treasurer of the church committee. Unlike the establishment of many early churches in Victoria where a vicar was appointed to a parish and later a permanent church was constructed, the population at Eltham initiated action to build a church. The nearest church at that time was at Heidelberg and the Eltham settlement was part of the parish of St Johns Heidelberg. Isolation and the tedious, time consuming journey between Heidelberg and Eltham resulted in the Eltham community taking its own action. The original vicarage (Dendy House) at the rear of the church is also an important part of the cultural significance of this place because it is connected to the church and the development of the Eltham area. Together, the church and the vicarage are aesthetically significant because they form a significant streetscape feature. The mud-brick community hall designed by Robert Marshall was added in 1978. In 2014 the original temporary rear wall was removed as part of a modern extension designed by Architects Atelier Wagner and constructed by Conrad Construction and Management. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Trust of Australia (Victoria) State significance Victorian Heritage Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p67This 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, eltham, st margaret's anglican church, st margaret's church, christ church

Document.Copy of Williamstown Historical Society Newsletter No 17 (1977).On the second and third page of this Newsletter is an article entitled ''The guns of the 'Nelson''', written by Doug Mills, Castlemaine. The Warship NELSON underwent alterations in 1860, including cut down to two decks and lengthened, her armaments reduced to 72 guns. Two 7inch 68 pounder guns were added to her armament. In February 7 1867 she was officially given to the Colony of Victoria by the Imperial Government. At the time her Commander was Captain Charles B. Payne. The Warship reached Melbourne in 4th February 1868. Relics of the NELSON were auctioned at Williamstown Victoria Naval Depot, and her two anchors are preserved for public display at Williamstown. An active demand for a share of the guns from various towns in the State. Ballarat received four (4) guns, Bendigo and Castlemaine two (2) each, while one has been given to each of the following towns: - Ararat, Tarnagulla, Hamilton, Bacchus Marsh, Echuca and Geelong. Collection of Lansell related documents: a. Copy of photograph - Lansell's Big 180 Victoria Hill - early 1870s - New Chum Hill in background. B. Lansell Estate mines - compiled from the annual report of the Hon Minister of Mines for Victoria, 1906. A listing of the George Lansell Mining Company interests at the time of his death. These were, New Moon Co, N.L., Clarence, New Prince Of Wales Co. N.L., Virginia G. M. Co., Catherine Reef United Co N.L., Great Northern Co N.L., Williams United, McDuff Amalgamated Co, South Mungo Co, South Prince Of Wales Consolidated, Constellation Co. Golden Pyke Co, Johnson's Reef Extended Company, Golden Age Co., Princess Dagmar Co, New St Mungo Co, Johnson's Reef Co, North Johnson's Co, Collman and Tacchi Co, Confidence Extended Co, G. Lansell Sandhurst Mines, Pearl Co., Windmill Hill Co., United Hustlers and Redan, Koch's Pioneer Co., Hercules and Energetic Co., Lansell's Comet, Cornish United Co., Ironbark Co., Hustler's Reef Co., and No. 1 Lansell's 83, Carlisle Co., Great Extended Hustler's Co., Victoria Consolidated Co., Great Central Victoria Co., Victoria Quartz Co., Victory and Pandora , Lansell's Big 180, Tambour Major, New Chum and Victoria Co., Garden Gully United Co., G. Lansell, Lansell's 222, Lazarus Co., Sea Amalgamated Co., Hustler's Royal Reserve Co., Horwood and Burrowe's Co., New Chum Consolidated Co., G Lansell's Sheepshead, Gariboldi Co., Londonderry Co., Shamrock Co., Great Britain Co., Fortuna Hustler's Co., Eureka Extended Co., G. Lansell's G.V.L., New Red White and Blue Consolidated, Great Southern Co., Lansell's Concord Mines, True Blue Co., G. G. Consolidated Co., Extended Red White and Blue Co., Great Columbian, Sedgwick and New Birthday. Also, a listing: ''Among the biggest yields to ate (sic) (date?) in ozs or Pounds were''; New Moon.Co. N.L. 180,087 ounces, Clarence £303,932, Catherine Reef United N.L. £762,815, Great Northern Co Ltd £394,525, Johnson's Reef Co 277,320ounces, Windmill Hill Co. 113,842ounces, Hustler's Reef Co. And No.1 1,144,923ounces, Carlisle Co 307,835ounces, Great Extended Hustlers Co £1,038,125, Garden Gully United Co. £1,653,900, Great Southern 97,752ounces, New Chum Consolidated 89,526ounces. This part (b) has handwritten inscription ''compiled by J Sarvaas MCE(??) Certified Mining Surveyor; 22/8/06''; c. Copy of Deed dated Dec 1886 between George Lansell, Wooten Lansell and the Bank of New South Wales relating to a wall and windows and openings etc etc. (3 pages of legalese!!!!!). Also, a (related?) page copy of a Grant -by purchase to the Bank of New South Wales with a date of August 1855 on it ''Enrolled in the Office of the Registrar of the Supreme Court of the Colony of Victoria - signed by Acting Registrar.document, gold, mines

St Margaret’s Church of England was officially opened on December 12, 1861. It is the oldest intact church building in Eltham. At the time it was known as Christ Church until its consecration in 1871, when it was completely free of debt (£1,700 for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including locally made bricks donated by local artisans and others. The church is historically significant because it is the oldest church in the former Shire of Eltham and has associations with the philanthropist and founder of Brighton, Henry Dendy (who donated the land on which the church is built), the architect Nathaniel Billing and the prominent local builder, George Stebbing. The church is architecturally and aesthetically significant because it is constructed in the Gothic Revival style with several stained-glass windows of various dates and is also a very early use of polychromatic brickwork in Victoria. Billing was one of the first Melbourne architects to employ polychromatic brickwork and an important early architect. The rear wall was intended to be temporary. A major feature of the design is the large buttresses with long, steeply graded upper faces. The overall design is well proportioned with the surface brick patterns relieving an otherwise austere design. The church is spiritually and socially significant because it has been an important place of worship for the people of Eltham for almost 150 years. The land on which the buildings stand was donated by Henry Dendy. Dendy arrived in Melbourne in 1841 after purchasing in England eight square miles at Brighton under the system of "special surveys". After this land passed out of his hands, Dendy moved about Victoria, visited England, then returned to settle in Eltham where he purchased a flour mill. Dendy chaired the meeting held in 1860 “for the purpose of devising such means as may be expedient for the establishment of a Church of England in the township of Eltham”. He became chairman and treasurer of the church committee. Unlike the establishment of many early churches in Victoria where a vicar was appointed to a parish and later a permanent church was constructed, the population at Eltham initiated action to build a church. The nearest church at that time was at Heidelberg and the Eltham settlement was part of the parish of St Johns Heidelberg. Isolation and the tedious, time consuming journey between Heidelberg and Eltham resulted in the Eltham community taking its own action. The original vicarage (Dendy House) at the rear of the church is also an important part of the cultural significance of this place because it is connected to the church and the development of the Eltham area. Together, the church and the vicarage are aesthetically significant because they form a significant streetscape feature. The mud-brick community hall designed by Robert Marshall was added in 1978. In 2014 the original temporary rear wall was removed as part of a modern extension designed by Architects Atelier Wagner and constructed by Conrad Construction and Management. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Trust of Australia (Victoria) State significance Victorian Heritage Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p67 St Margaret’s Anglican Church in Pitt Street, Eltham, which officially opened on December 12, 1861, is the oldest intact church building in Eltham.1 With the nearby courthouse and police station, it was one of the first permanent community buildings in the district. The church and vicarage are on the Register of the Heritage Council of Victoria and the National Trust of Australia – Victoria. The church is important as an early example of polychrome brickwork by the notable architect Nathaniel Billings. It is also notable for its historic associations with the early settlement of the Shire of Eltham and its connection with Henry Dendy, Brighton’s founder.2 Henry Dendy, who lived in Eltham much longer than at Brighton, chaired the original meeting which planned the church, and he donated the half-acre (0.2ha) site. Dendy had arrived in Melbourne in 1841 after buying eight square miles (20.7sq km) at Brighton while in England. After this land passed out of his hands, he eventually settled in Eltham where he bought a flour mill, west from the corner of Main Road and Pitt Street (then called Brewery Lane). The vicarage was named Dendy House after him. The Eltham settlers were unusual in initiating the establishment of a church. Usually in Victoria a vicar was appointed to a parish and then a permanent church was constructed. But then, the nearest church was at Heidelberg, which was a tedious and time-consuming journey. St Margaret’s builder was a local, George Stebbing, who also constructed the former Methodist, later Uniting, Church at John Street and the Shillinglaw Cottage near Eltham’s Central Park. It is believed the first Anglican Bishop of Melbourne, Bishop Perry, dedicated the church. After the ceremony he joined in the festivities at the nearby pub and a bill was sent to the parish for teas taken there by the bishop with other participants. The first vicar was the Reverend Robert Mackie from 1864 to1866. St Margaret’s Church was originally called Christ Church until its consecration in 1871, when it was completely free of debt (£1700 pounds for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including local bricks, donated by local artisans and others. St Margaret’s Church is in the Gothic Revival tradition with a buttressed nave, paired lancet windows, porch and bell-cote. It was the first polychromatic brick church in Australia, using softly contrasting coloured brickwork.3 Billing was one of the first architects to introduce polychrome brickwork into Melbourne. His original drawings for St Margaret’s survive in a folio of his architectural work. However the church’s brickwork is more subdued than in his drawings. About half the windows – those in clear glass with gold borders – are original. The stained glass windows were made much later, but the one behind the altar is thought to be the oldest in the Diamond Valley. It was to be temporary until the congregation could afford to extend the church. In the early 1960s the original cedar pews were replaced by blonde timber pews and the originals were sold to restaurants and to private individuals. Eminent local sculptor Matcham Skipper created a crucifix for the church. A major addition was made in 1978, when the weatherboard hall was replaced by a mud-brick hall. Made of local material, it was designed by local architect and a former shire president Robert Marshall. The mud-brick hall reflects the style of building in Eltham of the late 1970s and for which Eltham is well-known. Perhaps because its earthy tones blend with the surrounding environment, the hall sits well with the church building. St Margaret’s membership has included economist and ABC chairman, Richard Downing; political commentator, diplomat and academic, William Macmahon Ball; Eltham civic leader, Charles Wingrove; artist, Peter Glass; and Eltham’s first postmaster, Frederick Falkiner.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, eltham, st margaret's anglican church, st margaret's church, st margarets church hall, christ church

This hardcover book, The logbooks of the 'Lady Nelson' : with the journal of her first commander, Lieutenant James Grant, R.N., by Ida Lee (Mrs Charles Bruce Marriott) was published over 100 years after the Lady Nelson arrived in Australia to navigate and survey this ‘new colony’. Included in the book are sixteen charts and illustrations from the originals in the Admiralty Library, showing the surveyed land and water. The transcribed Contents, below, summarise the trips of the Lady Nelson during this time. Book’s Content PLUS text of the Chart of ‘Part of Bass Strait’ - Chapter 1: The Lady Nelson built with centreboards. Her voyage to Sydney under James Grant. The first ship to pass through Bass Strait. - Chapter 2: Returns to explore the Strait. Her visits to Jervis Bay and to Western Port in 1801 - Chapter 3: Colonel Paterson and Lieutenant Grant survey Hunter River - Chapter 4: Murray appointed commander of the Lady Nelson. His voyage to Norfolk Island. - Chapter 5: Murray’s exploration of Bass Strait. - Chapter 6: Discovery of Port Phillip. - Chapter 7: The Lady Nelson in company with HMS Investigator examines the North-Eastern shores of Australia. - Chapter 8: The French ships in Bass Strait. The founding of Hobart. - Chapter 9: Symons succeeds Curtoys as commander of the Lady Nelson. His voyages to Tasmania, Port Phillip and New Zealand. - Chapter 10: The Lady Nelson in Tasmania. The founding of Port Dalrymple. - Chapter 11: The Estramina is brought to Sydney. The Lady Nelson visits Norfolk Island and Port Dalrymple. - Chapter 12: Tippahee and his four sons are conveyed to New Zealand in the Lady Nelson. - Chapter 13: The Lady Nelson accompanies HMS Tamar to Melville Island. - Chapter 14: The loss of the Lady Nelson Text included with the ‘Chart of Bass Strait’ … “Part of Bass Strait, including the discoveries made by Acting Lieut. J. Murray, commander of His Majesty’s armed surveying vessel Lady Nelson, between November 1801 and March 1802. By command of His Excellency Governor King.” “This chart, which bears Murray’s autograph, shows his explorations of Western Port, Port Phillip and King Island. It should be noted that Flinders Island is named Grand Capuchin. This is one of the charts referred to as "unfortunately missing” in the Historical Records of N.S. Wales, vol. iv. P. 764” The story of the Lady Nelson In 1798 the British Admiralty ordered a cutter of 60 tons to be built along the design of the armed cutter Trial that was developed by Captain John Schanck, with three sliding keels or centreboards that could be individually raised and lowered, for use on the River Thames. The new cutter was to be named Lady Nelson. Philip Gidley King, prior to taking up his appointment as third Governor of the colony of New South Wales, was in England at the time of the Lady Nelson’s fit-out and was aware of the need for such a ship for survey work in the colony in New South Wales. He convinced Captain Schanck, the Commissioner of Transport in England, to construct and rig the Lady Nelson as a brig rather than a cutter, keeping the feature of the three sliding keels, which would be very useful for mapping in shallow waters. The new Lady Nelson was launched at Deptford, England on the River Thames in November 1798, with the official commission to discover and survey the unknown parts of the coast of New Holland (Australia) and establish British sovereignty over the continent. The Lady Nelson sailed from Portsmouth, England on March 1800 under the command of Lieutenant James Grant. She carried an armament of two original and four extra brass carronade carriage guns and set sail as part of a convoy heading to Port Jackson, in New South Wales, New Holland. After a while she continued to sail on her own. Her journey was troubled with problems at times; damaged and broken keels, troublesome crew and leaking topsides between the waterline and the deck due to poor seals. She arrived at the Cape of Good Hope in July and waited for the winter to pass to avoid the strong winds of the ‘Roaring Forties’. While at the Cape, Grant received a despatch to travel to Port Jackson via the newly discovered Bass Strait, rather than the usual route via the tip of Van Diemen’s Land (Tasmania). This also gave him the opportunity to survey the strait on the way. He departed the Cape in October and in December he made his first sighting of New Holland near Mount Gambier in what is now South Australia. A report by Ecclestone in 2012, ‘The Early Charting of Victoria’s Coastline’, mentions that Grant charted and named Capes Banks and Northumberland, and sighted inland hills that he named Mt Gambier and Mt Schanck, the latter after the designer of his ship. Grant then reached the south-western shores of what is now Victoria on 3-4 December 1800, and from Cape Bridgewater he examined the coast eastward to Cape Patton. Although he had not continuously sighted the coast in the vicinity of Port Fairy and Warrnambool, the western part of Victoria became known as Grant’s Land. The Lady Nelson continued eastward and passed through Bass Strait, becoming the first vessel to reach the east coast of New Holland from the west, and arrived at her destination of Port Jackson later in December 1800. Grant, in the Lady Nelson, then left Port Jackson and began survey work. He discovered Port Phillip on Victoria’s coast and explored King Island, he helped establish the first European settlement in Tasmania on the Derwent River, and Port Dalrymple, Newcastle and Port Macquarie. He made several trips from Norfolk Island to Hobart Town. Governor Macquarie sailed on with him to Van Diemen’s Land for a tour of inspection in 1811. Grant helped establish the first settlement on Melville Island in Northern Australia. The Lady Nelson was used to transport cargo, civilians and convicts and to source pigs from Timor. In February 1825 the Lady Nelson sailed again for Timor and never returned. One report said that “Every soul on board, we regret to state, was cruelly massacred, and the hull of the vessel was seen some time after with the name painted on her stern.” The hull was sighted on the island of Babar, which is almost 200 kilometres east of Timor. This particular copy of the book ... This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969 This book about the logbooks of the Lady Nelson is locally significant for its association with the brig Lady Nelson, in which Lt. James Grant made the first documented European discovery of the area later known as Warrnambool in December 1800. This book is also nationally significant for its association with Grant in the Lady Nelson being the first to sail from west to east through Bass Strait, opening up a shorter, faster route to the colony of Port Jackson rather than going all the way south around Van Diemen’s Land. The book is nationally significant for its contents of the logbooks of the journeys of the Lady Nelson under various commanders and the copies of the charts created from the surveyed information and the new land of Australia was discovered. This book is also significant for its association with the full-size non-sailing replica of the Lady Nelson from Mount Gambier’s visitor centre, which was restored by Flagstaff Hill’s Master Boat Builder in Warrnambool in 2012, and with a ship mode of the Lady Nelson in our Collection The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. The Logbooks of The Lady Nelson Author: Ida Lee ( Mrs Charles Bruce Marriott) Publisher: Grafton & Co Date: 1915Label on spine with typed text RA 910.994 LEE Inside front cover has a sticker that reads Warrnambool Mechanics Institute and Free Library shipwrecked-coast, flagstaff-hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, warrnambool library, warrnambool mechanics’ institute, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, the logbooks of the lady nelson, ida lee, mrs charles bruce marriott, captain john schanck, sliding keels or centreboards, lady nelson, british brig hms lady nelson, lieutennant james grant, bass strait discovery, surveying king island and port phillip bay, philip gidley king, survey map

Eastern Rosellas are multi-coloured medium-sized Australian parrots with distinctive white cheek patches. The Eastern Rosella is found throughout south-eastern Australia, from Queensland to Victoria, south-eastern South Australia, and eastern Tasmania. Despite their vibrant colours, Rosellas camouflage well into their surroundings when perching or when on the ground. The Eastern Rosella is found in open woodlands, grasslands, farmlands and remnant bushland. These birds are often found in urban habitats such as parks, gardens and golf courses. Early European settlers encountered the Eastern Rosella at Rose Hill, New South Wales, now Parramatta, and so they called it the Rosehill parakeet which became "Rosehiller", and eventually shortened to "rosella". 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 mature Eastern Rosella has a red head and breast, with a light green belly and distinctive white cheeks. The back is yellow-green with black mottling, the yellow-green turning green then to blue across the wings. The tail feathers are blue/black, with a red base on the underside. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Label: 79/ Rose-hill Parakeet / See catalogue, page 22 taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, rosella, eastern rosella, rosehill parakeet, rose-hill parakeet

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. Like many species of quail, the Brown Quail is often difficult to see, as it inhabits rank, overgrown grassy areas, often in damp, low-lying patches beside wetlands. They are difficult to flush from this cover, preferring to squat among the grass or run quickly off through the vegetation rather than fly off. As is the case with many species that inhabit dense habitats, the Brown Quail may be heard more often than it is seen, with its characteristically mournful two-note call whistle often heard at dawn and dusk. The Brown Quail is found across northern and eastern Australia, from the Kimberley region in Western Australia to Victoria and Tasmania, as well as in south-western Australia. It is also found in Papua New Guinea and Indonesia, and has been introduced to New Zealand. The Brown Quail feeds in the early morning or evening, on the ground, mainly on seeds and green shoots, but also on insects. In some area, quails will readily cross roads and may be seen feeding along roadsides.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. The Brown Quail is a small, plump ground-dwelling bird. It is variable in colour, ranging from red brown to grey brown with fine white streaks and black barring above, and chestnut brown below. The eye is red to yellow, the bill black and the legs and feet orange-yellow. In Tasmania, this species is called the Swamp Quail and tends to be larger and darker than mainland birds, with a pale yellow eye. Female Brown Quails are larger and may be more heavily marked with black and paler below than males. Young birds are like adult females, with less distinct markings and a dark brown eye.Label: 33. / Swamp Quail / See Catalogue, page 30 / Mount: 09/taxidermy, quail, brown quail, taxidermy bird, burke museum taxidermy

This photograph was captured at an undisclosed location and at an unidentified time but likely dates to approximately 1870. The photographer's details are not recorded and the identities of the men in the image are also not known. This image depicts a group of 10 men in typical miners fashion. Four of them are sat on a large log with one holding a small dog. Six miners stand behind those sitting. All these men are wearing a white button-up shirt and tan coloured work trousers. They wear heavy boots and seven have included a dark vest over their shirt. The man holding the dog has a pipe in his mouth. Two of these men are clean shaven with the remainder sporting a moustache and two with a beard. The ages of these men vary from late 20s to middle age. This group of men are located in a mining location with what appears to be an open cut mine in the background of the image. The ground is muddy and has elements which can help identify it as a mining location based on the condition of the landscape. The bottom of the men's trousers are muddy which provides the assurance that these men were working in this location when their photograph was captured. In the background there is one structure, possibly a dwelling, and bush which identifies the location as Australia. Open cut sluicing is a method used to extract gold and other precious metals from beneath the surface of the earth. This technique involved the use of high-powered hoses which broke down the soil enabling miners to come along and search this soil for gold. After the gold rush of the early 1850s, diggers had to enlist the assistance of heavy machinery and techniques like hydraulic sluicing in order to reach gold because the surface alluvial gold had already been discovered and removed. This heavy machinery was not used until after 1853. The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper mounted on board.Reverse: 1997.2518mining, goldfields, beechworth, 1870, australia, australian goldfields, diggers, victoria, sluicing, gold mining, miners, diggers victoria

This photograph was taken in approximately 1870 and depicts four male miners standing in mining sluice at the Three Mile Goldfields. These men are wearing typical attire for 1870s gold miners. They wear white shirts, tan coloured pants with water proof shoes and most of the men are wearing an apron to prevent their clothing from becoming too dirty from the mud. Each man is wearing a wide brim hat and hold large wooden tools used for sorting through the sluice. Three of the four men have full beards. The photograph was donated to the Burke Museum by R. Ziegenbein before 2001 but the photographer and the individuals captured in the photo are unknown. The image depicts the landscape of the Three Mile Goldfields during a period when open cut sluicing was undertaken to reach gold. Open cut sluicing is a method used to extract gold and other precious metals from beneath the surface of the earth. This technique involved the use of high-powered hoses which broke down the soil enabling miners to come along and search this soil for gold. After the gold rush of the early 1850s, diggers had to enlist the assistance of heavy machinery and techniques like hydraulic sluicing in order to reach gold because the surface alluvial gold had already been discovered and removed. This heavy machinery was not used until after 1853. The Three Mile Goldfields was a site of rich alluvial gold deposits located about 5 km south of Beechworth in Victoria. Today, the location of this gold deposit is called Baarmutha. It was a popular area for gold mining in the 1850s but became largely abandoned by the following decade. In 1865, a man named John Pund recognized that the area could be potentially rich if a better water supply could be obtained. He secured a 15 year license with three other miners. Within the next five years, these men had constructed 19 km of water race going from Upper Nine Mile Creek to Three Mile Creek. By 1881, these four men had delivered 950,000 gallons to the Three Mile Sluicing area which is depicted in this photograph. Pund was later go into partnership with John Alston Wallace who would become owner of the Star Hotel in Beechworth. The Three Mile sluicing location continued to be operational until 1950. Sluice box workers were a vital part of gold mining regardless of how inefficient they were in the recovery of gold. After using hydraulic sluicing to cut away the earth, miners would use the big wooden boxes depicted in the image to catch the earth which would then be sifted for gold. However, accidents would occur often which would result in the gold washing away and unable to be recovered. It was not a very efficient system because the gold, which was alluvial and thus very fine, would often pass through the sluice box undetected.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper and mounted on board.[illegible] about 1870 / 97 2514.1 / 2594 30three mile goldfields, goldfields, 1870, 1870 gold, australia, australian landscape, miners, gold miners, diggers, gold diggers, beechworth, victoria, sluice box workers, sluicing, sluice, mining

This photograph was taken in 1911 at Three Mile Creek, about five kilometers south of Beechworth town. Significant digging took place at this location from late 1855, which led to a flood of workers and stores to follow, though daily earnings were slim compared to the nearby Woolshed site. This remained the case even after workers at Three Mile Creek attempted to protest around Beechworth during an election in November 1855. Three Mile Creek was one of seven significant divisions of the Beechworth Mining District formalised by the Governor-in-Council in 1858, though by the time this photograph was taken, the boundaries of the original seven districts had shifted to create seventeen divisions. The Three Mile Goldfields was a site of rich alluvial gold deposits located about 5km south of Beechworth in Victoria. Today, the location of this gold deposit is called Baarmutha. It was a popular area for gold mining in the 1850s but became largely abandoned by the following decade. In 1865, a man named John Pund (a man second from the left in the back row of this photograph shares this surname) recognized that the area could be potentially rich if a better water supply could be obtained. He secured a 15 year license with three other miners. Within the next five years, these men had constructed 19 km of water race going from Upper Nine Mile Creek to Three Mile Creek. By 1881, these four men had delivered 950,000 gallons to the Three Mile Sluicing area which is depicted in this photograph. Pund would later go into partnership with John Alston Wallace who would become owner of the Star Hotel in Beechworth. The Three Mile sluicing location continued to be operational until 1950. The eleven miners in this photograph are: Back row: Led Guthrie, P. Pund, F. Beel, [Unknown] Miller Front row: Paddy McNamara, J. King, W. Beel, [Unknown] Garland, J. Clarke, J. Ryan, H. Bartsh In the background of the photograph is a huge dirt wall that appears to suffer damage caused by hydraulic sluicing. Hydraulic sluicing is a specialised mining technique that involves directing high pressure water flows at dirt to uncover gold. The technique played a significant role in shaping Beechworth's landscape during the gold rush to create the topography seen today.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1911. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Black and white / sepia rectangular reproduced photograph printed on glossy photographic paper mounted on board.beechworth, beechworth museum, mining, mining team, three mile creek, sluicing, hydraulic sluicing, photography, gold sluicing, gold mining, pund mining

The photograph appears to depict the of the entrance to the Rocky Mountain Tunnel. The Rocky Mountain Tunnel runs from opening of the tunnel, underneath the Beechworth town, to the Gorge. This tunnel drained the excess water from the upper Spring Creek Goldfield to allow for mining access in the area. The Rocky Mountain Co. blasted through the granite rock to create the original 400ft-long tunnel in 1859, but between 1867 and 1871, the Rocky Mountain Gold Sluicing Co. widened and extended it. At its completion, it measured 14ft deep, 6ft wide, and almost half a mile long. The mining surveyor at Beechworth called it 'without doubt, the greatest undertaking of the kind in the colony'. When the company became the Rocky Mountain Extended Gold Sluicing Co. in the mid-1870s, they continued the tunnelling work. The work was reportedly vital to mining being able to continue at Beechworth and may have established world records in tunnelling through hard rock. The entrance at the Gorge side of the tunnel can be seen from the Beechworth Gorge Walk. The tunnel continues to be an outfall drain for the lake and the town.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.A black and white rectangular reproduced photograph printed on matte photographic paper.7814beechworth, beechworth museum, burke museum, australian museum, mining, rocky mountain mining co., rocky mountain mining company, mine, mining company, rocky mountain mine, mine entrance, rocky mountain, gold, gold mining

The red-winged blackbird is native to North America. They live in a verity of places from southern Alaska at its northern most point, to the Yucatan peninsula in the south and covers the greater part of the continent reaching from the Pacific coast of California and Canada to the eastern seaboard. Populations that are most northerly migrate south after the mating season, but some of the populations in the central and western United States, Central America and the Gulf Coast are resident year-round. In the breeding season, Red-winged blackbirds are found in a range of fresh and saltwater environments, including in small trees and bushes along marshes and watercourses, in agricultural areas and dry meadows. During migration, they can be found in, pastures, prairies and cultivated fields. They are polygamous. In the north, the early arrival and tumbling song of these birds are welcome indications of spring's return. The Red-winged blackbirds are known for their scarlet and yellow shoulder patches on this specimen are rather dull and the feathers are not as glossy black as they are in other images. 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 is one of the most common birds in North America and is the most boldly coloured one. The males are glossy-black with shoulder patches of scarlet and yellow which they are able to puff up or hide according to their level of confidence. Females look like a big, dark sparrow, being a subdued, streaky brown. This specimen has the colouring of the male Red-Winged Blackbird which helps to identify it as such.Swing-Tag: 137a. / Red-winged Starling / Catalogue page, 58 / Tag: A. 4429taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, north america, red-winged blackbird, red-winged starling, migratory, alaska, canada, saltwater

Barking Owls are a nocturnal, medium sized bird of prey native to Australia, parts of Papua New Guinea, and the Moluccas. Average size ranges between 390-440mm in length. Females are generally slightly smaller than males and they are only one of a small number of owl species that do not exhibit marked sexual dimorphism. Barking Owls have characteristic vocalisations, ranging from a 'woof woof' barking dog sound, to shrill, human-like screams, which reportedly alarmed early European settlers to Australia. The Barking Owl's shrill and explosive vocalisation is sometimes associated with Bunyip mythology or referred to as 'the screaming woman call'. The female call is slightly higher in pitch than the male, and males and females often duet, contrasting low and high pitches. Barking Owls may be vulnerable in some parts of Australia due to woodland habitat loss. 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 female Barking Owl is of an average size. It has brown, grey and white spots and vertical streaks. The face and breast are lighter in colour than the wings and the dorsal plumage. The glass eyes are large and dark in colour while the tarsi and toes are yellowish. This specimen stands on a wooden perch with identification tags attached to its leg. [torn] / 16. / Winking Owl / See catalogue Page, 4 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, owls, barking owls, screaming woman call, yowing, woodland birds, birds of prey, australian owls, endangered, loss of habitat, woodland habitat, bunyip, australian early settler mythology

Early photo of the Bridge over Spring Creek taken along Camp Street facing East. This photograph was taken after 1890, when powerlines were beginning to be put up in regional Victoria.Black and white rectangular photograph printed on matte photographic paperbeechworth, spring creek, camp street

A postcard taken of Reid's Creek in Beechworth, taken in the early 1900s. This image is a representation of early automboile usage in the Beechworth area, with the car crossing the Reid's Creek bridge. Taken in Sepia tone it also has a detailed look of the foundations of the early bridge.Sepia rectangular photograph printed on matte photograph paperObverse The Rose Series P.10534 / Copyright Reid's Creek, Beechworth, Vic Reverse Left Side of Reverse: Published by the Rose Stereograph / Armadale, Victoria Top of Reverse: Post Card /Printed drawing of a rose The “Rose” Series / De Luxe A Real Photograph / Produced in Australia 1997.2607 Tanley Lower Right of Reverse: 2906 automobile, bridge, reid's creek, beechworth, postcard

This particular specimen was recovered from the Lal Lal Coal and Iron Mine in Victoria, 19km from Ballarat. Brown Coal was discovered here in 1857, just alongside the Geelong to Ballarat Railway line. This discovery of lignite (brown coal) was the first in Victoria, which would bring important benefits to the region and state, both of which had previously been reliant on coal imports. In the 1860s, iron ore was found just 5km from Lal Lal, and the area was converted into an Iron Ore Mine. The Lal Lal Iron Mining Company took over operations in 1874, who then peaked iron production in 1884. This mine continued operations until June 1884, when the blast furnace was extinguished and never recommenced. The blast furnace at Lal Lal is considered one of the most important and highly significant sites ion early industrial history in Australia, as it is the only remaining best furnace from the nineteenth century in the Southern Hemisphere. The furnace ruins are 17 metres high, and are clearly visible today on Iron Mine Road, Lal Lal, near the Bungal Dam. This specimen of Lignite (brown coal) is significant, as it was mined from the area where brown coal was first discovered in Victoria, leading to an important and controversial future of the mining and use of brown coal in this State. The Victorian Heritage Database has listed the Lal Lal Coal Mine with local significance, with their Statement of Significance stating: "The Lal Lal coal mine is historically significant as the site of the first discovery of lignite (brown coal) in Victoria, and one that promised important benefits to regional and state industries that were reliant on coal imports at the time. The significance of the stie is reduced by the poor state of preservation of the coal mining and processing fabric". This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A hand-sized light-weight, soft and combustable sedimentary rock specimen, that is dark brown in colour. The specimen has jagged edges, as though parts of the rock have crumbled away. Brown coal, or Lignite, is formed naturally from compressed peat, and is typically found in natural basins. The stages to the formation of coal ('coalification') begin with plant material and wood, which will decay if it is not subjected to deep burial or heating, and turn into Peat. Peat, when sufficiently compressed naturally, will turn into Brown Coal (Lignite), and finally into Black Coal (sub-bituminous, bituminous and anthracite). Each successive stage has a higher energy content and lower water content. It is brownish-black in colour. Brown Coal has a high moisture content, between 50 and 75 percent, and a low carbon content. Some Brown Coals may be stratified, with layers of plant matter, which means little coalification has occurred beyond the peat natural processing stage. When Brown Coal is submerged in dilute nitric acid or boiling potassium hydroxide solution, it reacts to produce a reddish solution, of which higher-ranked coals do not. When brown coal is pulverised and burned in boilers, the steam is used to drive turbines, which generates electricity. It is the lowest rank of coal, as when burned, it creates a relatively low heat content, which in turn does not create a great output of steam. burke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, mineralogy, brown coal, brown coal specimen, lignite, lal lal, lal lal coal mine, lal lal iron mine, ballarat, blast furnace

Gabo Island sits off the coast of East Gippsland in Victoria, with cliffs of granite in a relatively unique red/pink colour. Early attempts to build a lighthouse on the island were abandoned due to poor foundations, but when a ship ran aground on the nearby Tullaberga Island in 1853 and led to the death of 37 people, efforts were reignited. Construction of a new lighthouse was completed by 1858, using Gabo Island granite. The lighthouse is Australia's second tallest in Australia and continues to play an important role in guiding boats around the coast as they journey between Melbourne and Sydney. The distinct pink colour from the granite means the lighthouse continues to be a defining feature of the island. Gabo Island granite was also used to construct the Treasury Building at 117 Macquarie Street in Sydney, now the Intercontinental Hotel.Granite in the pink colour of this specimen is relatively rare. The connection to the lighthouse on Gabo Island also gives the specimen historic significance and social significance regarding the maritime history of Victoria. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid palm-sized mineral, coloured by flecks of pink, red, and grey. Granite is formed by the slow crystallisation of magma below the earth's surface. It is typically composed of a mix of quartz, feldspar, and other minerals, though syenitic granite like this sample has a smaller amount of quartz than typical granite. This different mineral composition leads to the more distinct pink and red colouring.First sticker: [torn]logical survey / R........ S........ / Loc Gabo Island / 1/4 Sheet / Second Sticker: 15 Third Sticker: Syenitic Graniteburke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, mineralogy, gabo island, gabo island lighthouse, lighthouse, granite, coast, coastal, granite specimen, victoria, coastal cliffs

This specimen was recovered from Wonthaggi in Victoria. Coal is a sedimentary rock which is composed of peat after it has been exposed over millions of years. This is an example of Australian black coal which is used as either thermal or coking coal for electricity generation or manufacturing processes. It is predominantly composed of Carbon which is 'C' on the periodic table of elements. This early example of a coal sample, shows the important role that coal played/plays in Australia's energy generation and manufacturing processes. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Small piece of black coal with museum original labelGeological survey / R..... S...../ Locality Cape Patterson coal specimen, burke museum, geological survey of victoria, geological specimen, geology

This specimen was recovered from Sedgwick, VIC. Spotted slate is a fine-grained porphyroblastic metamorphic rock with a number of compounds including muscovite, quartz, graphite with cordierite poikiloblasts and more. The cordierite poikiloblasts are rounded crystals that size up to 2.5 mm. the growth of these crystals is in response to metamorphism of low to medium intensity. The town Sedgwick was named after British geologist Adam Sedgwick This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid rectangular hand-sized spotted slate specimen in a shade of light grey with darker flecks throughout Spotted Slate / Locality: Sedgwick Victoria | This is an early specimen / from the Quarter sheet / map. See sample 62 / page 18. Described as 'Spotted Slate' but these / days we would call it spotted hornfels / C. William 15/4/21 slate, spotted slate, victoria, beechworth, burke museum, geological specimen, mineralogy, sedgwick, sedgwick victoria, spotted slate specimen

This specimen was recovered from Ceres West of Geelong, Victoria. Greenstone is the name for any metamorphosed basic igneous rock (in the case of this specimen, Gabbro) that gains its greenish colour to the presence of the minerals chlorite, actinolite, or epidote, hence the term 'green' and 'stone'. Greenstone is often formed through metamorphsis along a convergent plate boundary. In the rock cycle (the series of processes that creates the various types of rocks) there are identified three different types of rocks, which are the sedimentary, the igneous and the metamorphic. Metamorphic rocks started out as sedimentary, igneous or earlier metamorphic rocks but changed from their original condition under the effect of high heat, high pressure or hot, mineral-rich fluid. However, if pressure or heat is too high, then the rock will melt, resulting in the formation of an igneous rock. The name used to describe these types of rocks reflects this specific inherent trait of change, since the word “metamorphic” derives from the Greek word “metamorphosis”, meaning “change of form or structure”. Metamorphic rocks form in the Earth`s crust but can be also found on the surface, due to elevation of the Earth`s surface. They are divided into two categories: the foliated metamorphic and the non-foliated metamorphic rocks. Gabbro is a highly useful mineral that is often polished to create cemetery markers and kitchen benches. It is notable for its qualities of durability, being able to withstand extreme elements and wear. Whilst not rare, Gabbro is of great utility and has been highly desirable for its qualities. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Greenstone is a solid hand-sized metamorphic mineral of a green colour. Greenstone is the name for any metamorphosed basic igneous rock (in the case of this specimen, Gabbro) that gains its greenish colour to the presence of the minerals chlorite, actinolite, or epidote, hence the term 'green' and 'stone'. Gabbro is a medium to coarse grained rocks that consist primarily of plagioclase feldspar and pyroxene. Greenstone is often formed through metamorphsis along a convergent plate boundary. Gabbro forms due to cooling and crystallization of magma underneath Earth's surface. Greenstone/Gabbro/from Ceres west/of Geelong. Has old Geological Survey label/and probably collected by/Richard Daintree in 1861/C.Willam 15/4/21/ Other label: 62 /greenstone, metamorphosed, igneous rock, gabbro, chlorite, actinolite, epidote, metamorphsis, rock cycle, various types of rocks, sedimentary, high heat, high pressure, mineral-rich fluid, metamorphosis, foliated metamorphic, non-foliated metamorphic, convergent plate boundary, greenish colour, minerals

This specimen was recovered from Moonambel, Donkey Hill, Victoria. Established in the early 1860's, Moonambel is a small town in the Pyrenees region of the Australian state of Victoria. In the 1850s the location of Moonambel was part of the ‘Mountain Creek’ pastoral run, but in 1860 reports began to appear of a gold-rush at McKinnon’s ‘Mountain Creek’ station. By 1861, a township had developed on the diggings site, and on 21 October 1861 the “municipal district of Moonambel, on Mountain Creek” was proclaimed. The name 'Moonambel' is believed to be an aboriginal word meaning 'hollow in the hills'. Slate is a stone with a fine grain that is noted for its persistent strength and ability to naturally split into slabs. It forms under low temperatures and is most often created from clay. Pyrite is a crystallising compound that occurs naturally in grey and blue-black slate that is colloquially referred to as slate-rust as it resembles regular rust. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Pyrite is iron sulphide (also known as “fool's gold”) which is commonly found in slates.Existing label: 53 /moonambel, slate, pyrite, burke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, mineralogy, victoria