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. The Crimson Rosella is relatively easy to see as it forages on the ground or among the leaves of eucalypts, with its spectacular combination of deep-crimson, royal-blue and black plumage. However, not all Crimson Rosellas look the same. Along the Murray River, Crimson Rosellas aren’t crimson at all — they are yellow, black and blue, with the yellow feathering replacing the crimson plumage. In southern South Australia they differ again, being roughly intermediate between crimson and yellow, with varying amounts of red and yellow in their plumage. Research featured in the 'State of Australia's Birds 2015' headline and regional reports suggest that the Crimson Rosella may be declining in the East Coast. There are several populations of the Crimson Rosella. Red (crimson) birds occur in northern Queensland, in southern Queensland to south-eastern South Australia and on Kangaroo Island. Orange birds are restricted to the Flinders Ranges region of South Australia, while yellow ones are found along the Murray, Murrumbidgee and neighbouring rivers (where yellow birds meet red birds they hybridise, producing orange offspring). Red birds have been introduced to Norfolk Island and New Zealand.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.There are several colour forms of the Crimson Rosella. The form it is named for has mostly crimson (red) plumage and bright blue cheeks. The feathers of the back and wing coverts are black broadly edged with red. The flight feathers of the wings have broad blue edges and the tail is blue above and pale blue below and on the outer feathers. This particular specimen has lost some feathers in its plumage and its colour is not as bright as that of a live specimen.Label: 77a / Pennant's Parakeet / See catalogue, page 22taxidermy, crimson rosella, bird, australian bird, rosella, crimson

Barn Owls are the most widely distributed owl species in the world and one of the most widespread of all bird species, including in Australia. Barn Owls are sedentary and prefer open habitats such as grasslands, farmlands, and open woodlands, where they forage and hunt small mammals, particularly rodents, at night. Barn Owls nest in deep hollows in old trees, especially eucalypts, but also in caves, rock cavities, and sometimes cavities in buildings. Barn Owl's have a highly distinctive white heart-shaped face and pale underbelly feathers. They can be seen circling low above grassland areas at dusk or at night, and their drawn-out shrieking, hissing, and 'eerie' rasping sounds have led some rural populations to consider they have magical powers. Barn Owls vary in size but average 330-390mm in length, with wing spans between 800-950mm. Females are larger than males and most are a mix of white, pale brown and shades of grey speckled with fine black tear-shaped spots. They have a distinctive flat heart-shaped facial mask with oversized oblique black eye-slits and black irises. A ridge of feathers sits above the beak resembling a long nose. The feet vary in colour from pink to grey, and beaks can be pale to dark buff, corresponding to general plumage hue. 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 Barn Owl is medium sized with long wings and a short squarish tail. Its underbelly is pale and speckled with dark spots. The wings and tail feathers are light brown, grey and white with small, dark, tear-shaped speckles on the upper parts. It has a distinctive white heart-shaped facial disc with large black eyes and curved beak. This specimen stands on a wooden perch pedestal and it has metal and paper identification tags attached to its legs. Swing tag: 36. / Barn [torn] / Catalogue [torn] / Metal tag: 4058 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, owls, birds of prey, tyto alba, heart-shaped faced owl, nocturnal birds, predator birds, 'harbingers of misfortune', demon owl, ghost owl, death owl, magical animals, lich owl, birds as omens, barn owl, carnivore, hissing owl

The White Winged Triller is a small member of the Campephagidae family. They can be found all over the Australian mainland, but there have also been sightings in Tasmania, Papua New Guinea and Indonesia. Their breeding season is from September to December, when they migrate to southern Australia for the warmer months. The males can be very noisy during this time, when they 'trill' all day, granting them their name. Throughout the winter they can be found in northern Australia. This species can be found in open areas with shrub and lots of ground cover, in woodlands, forests, scrub and waterways. The males and females are noticeably different, particularly when breeding. Breeding males are the most conspicuous, with black on their heads, bodies and wing coverts, with a white body, lower face and lower wings. Females are brown, with a light body, a faint brow and a dark line through their eyes. When not in the breeding season, males are similar to females, though they have a greyer rump. These birds have a netted pattern on their wings. When in flight they undulate, and when they land they often shuffle and re-fold their wings. This species predominantly forage for insects on the ground or tree foliage, but also 'hawks' insects from higher perches. They build nests on horizontal branches or forks, and can be found sometimes using empty nests of other birds. Many of these birds can be found nesting in the same tree as a colony, and both parents incubate and brood their two to three nestlings. This specimen is a male White Winger Triller, which is apparent from his black and white colouring. While missing some plumage, the distinction between black wings, tail, cap and wing covert are still clear against his white body and under-wings. 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 male White Winged Triller has a black cap on its head. It has black wings with black wing coverts, and a black tail. It has a white lower face and body, a white shoulder bar and white under-wings. This specimen stands upon a wooden post, attached to a wooden post and has an identification tag tied around its leg. Swing-tag: 22a / White shouldered Campephagidae/ See catalogue, page 11. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, triller, white winged triller, campephagidae, australian birds

Generations of the Talbot family have called Malahide Castle home. They played significant roles in Irish political and social life. Set in 260 acres the castle is only 10 minutes from Dublin airport. https://www.malahidecastleandgardens.ie/ According to wikipedia See https://en.wikipedia.org/wiki/Easter_Rising#Fingal In Fingal (or north County Dublin), about 60 Volunteers mobilised near Swords. They belonged to the 5th Battalion of the Dublin Brigade (also known as the Fingal Battalion), and were led by Thomas Ashe and his second in command, Richard Mulcahy. Unlike the rebels elsewhere, the Fingal Battalion successfully employed guerrilla tactics. They set up camp and Ashe split the battalion into four sections: three would undertake operations while the fourth was kept in reserve, guarding camp and foraging for food. The Volunteers moved against the RIC barracks in Swords, Donabate and Garristown, forcing the RIC to surrender and seizing all the weapons. They also damaged railway lines and cut telegraph wires. The railway line at Blanchardstown was bombed to prevent a troop train reaching Dublin. This derailed a cattle train, which had been sent ahead of the troop train. The only large-scale engagement of the Rising, outside Dublin city, was at Ashbourne. On Friday, about 35 Fingal Volunteers surrounded the Ashbourne RIC barracks and called on it to surrender, but the RIC responded with a volley of gunfire. A firefight followed, and the RIC surrendered after the Volunteers attacked the building with a homemade grenade. Before the surrender could be taken, up to sixty RIC men arrived in a convoy, sparking a five-hour gun battle, in which eight RIC men were killed and 18 wounded. Two Volunteers were also killed and five wounded, and a civilian was fatally shot. The RIC surrendered and were disarmed. Ashe let them go after warning them not to fight against the Irish Republic again. Ashe's men camped at Kilsalaghan near Dublin until they received orders to surrender on Saturday. The Fingal Battalion's tactics during the Rising foreshadowed those of the IRA during the War of Independence that followed. Volunteer contingents also mobilised nearby in counties Meath and Louth, but proved unable to link up with the North Dublin unit until after it had surrendered. In County Louth, Volunteers shot dead an RIC man near the village of Castlebellingham on 24 April, in an incident in which 15 RIC men were also taken prisoner.filming fingal's finest day, malahide castle, ireland

Four species of quoll occur in Australia: the northern, spotted-tailed, eastern and western quolls. Once, most parts of Australia were inhabited by at least one of the species.Captain Cook collected quolls along the east coast in 1770, and recorded "quoll" as their local Aboriginal name. Quolls were often seen by early settlers, who called them "native cat", "native polecat" and "spotted marten", names based on familiar European animals. Since 1770, all four species have declined dramatically in numbers. This is mainly because of habitat loss or change across Australia, and introduced predators such as foxes and cats. Quolls are carnivorous marsupials with a pointed snout, a long tail and brown to black fur distinctively spotted with white. They are lively, attractive animals, with bright eyes, a moist pink nose and many sharp teeth. Like most Australian mammals, quolls are mainly active at night. Typically, they spend the day in one of their many dens, although spotted-tailed quolls and northern quolls sometimes forage and bask in the sunshine. Their large home ranges can extend for several kilometres in each direction from a smaller core range, and the range of a male quoll often overlaps those of several females. An interesting feature of their behaviour is the use of shared latrine (toilet) sites in open spaces such as rock ledges, for marking their territory and other social functions. Male quolls travel widely during the breeding season, with mating occurring during winter. All four species have a gestation period of 21 days. Because they are marsupial mammals, their young are born tiny and undeveloped and must work their way to the pouch, where they attach themselves to a teat to feed. Only the spotted-tailed quoll has a true pouch. In the other species, the young are protected by shallow folds of skin around the teats. As the pups grow, they dangle from the mother's belly; later, she carries them on her back. Quolls reach sexual maturity at one year. They have a naturally short life span, with smaller quolls living an average of only two years, and the larger spotted-tailed quoll about four to five years. The northern quoll is particularly short-lived. 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 and the National Museum of Victoria, as well as individuals such 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.Average sized quoll with brown fur with white spots on body but absence on the long tail which is furry unlike the smooth body fur. The quoll has a small had with a pointed snout lined with sharp teeth, and thin membraned ears that are slightly covered in fur. The forelegs of the quoll are slightly smaller than the hindlegs, with all four legs featuring sharp clawed paws.On mounting board: BMM5984/ On Catalogue Tag (attached to left hindleg): Native Cat./ Catalogue. Page 50./ burke museum, taxidermy, taxidermy mount, fauna, animal, animalia, reynell eveleigh johns, quoll, native cat, dasyurus

Situated in King Street, Eltham, Alistair Knox built his home and office in 1962-1963 with mud-bricks made from the local soil and recycled materials blending the house with bush around it. Knox popularised the Eltham earth building movement, begun by Montsalvat founder, Justus Jorgensen. Alistair Knox (1912-1986) was also an Eltham Shire Councillor 1971-1975 and Shire President in 1975. Knox established the inaugural Eltham Community Festival in 1975. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p145 Lack of money was a strong incentive for Alistair Knox to do what he did best when he built his house and office at King Street, Eltham in 1962-63. He used mud-bricks from local soil and recycled materials, characteristically blending the house with the bush around it. The result was a work of art. Knox popularised the Eltham earth building movement,1 begun by Montsalvat founder Justus Jörgensen. He was also an Eltham Shire Councillor from 1971 to 1975 and Shire President in 1975. For Knox mud-brick building was not just a building style, but a spiritual experience and a way of relating with nature. At 40 he rediscovered God and his building reflected his theological, political, philosophical and particularly environmental world view, which was far ahead of its time.2 He also contributed to building development in his use of concrete slab foundations when stumps and bearers were the norm. Knox was introduced to mud-brick construction in 1940 by Jörgensen, then shortly after, Knox joined the Navy. In 1946 Knox studied Building Practice and Theory at Melbourne Technical College (now RMIT University). There he befriended fellow student and artist Matcham Skipper who belonged to what was then called the Jörgensen Artists’ Colony. Knox decided to build an earth building in Eltham, partly because the post-war huge building demands resulted in expensive and scarce building materials. He asked artist Sonia Skipper for help who, with Matcham, had constructed mud-brick buildings at the Artists’ Colony. The simple rectangular low-lying house at King Street is framed by native plants and a 3.6 metres wide pergola surrounds the building. Wedded to the landscape, a door in every room at the perimeter, opens outside. The property also includes a forge, a small hut built by son Macgregor at 15, and a mud-brick tower for chickens. Building materials were foraged from a wide variety of sources. Some of the joinery material came from old whisky vats. When the Oregon of the highest quality ‘was put through the wood-working machines, it gave off a deep smell of whisky that made the whole atmosphere exotic and heady’.3 Amateur builders, including schoolboys from Knox’s Presbyterian Church, made some of the mud-bricks. But the building was finished with the professional help of Yorkshire builder, Eric Hirst. Inside, the light is subdued with the mud-brick, beamed timber ceilings and floors of slate, timber or orange-brown tiles. Skylights, with rich blue and red leadlighting, illuminate one entrance area and this feature is repeated as edging on the door. The centre of the house is like a covered courtyard, with rooms built around it. The central room, 11 metres x 7 metres, was built in the same proportions as Knox’s mud-bricks. Clerestory windows on four sides infuse the room with a soft light. A huge brick fireplace extends beyond one corner and opposite is a small one where timber can only be placed vertically. The slate for the floor was discarded from the Malthouse Brewery now used as a theatre in Southbank. In the middle is a large refectory table and benches that seat 18. Like much of the house, it is rugged, yet beautiful. Made of Western Australian Jarrah by Macgregor with a chain saw and an adze, it retains knot and nail holes. Each wall has an opening, 2.4 metres at the ends and 3.6 metres at the sides. Only one has doors and these concertina doors are made of the backs of old church pews. The main bedroom has an ensuite with a marble hand basin discarded from the Victorian Parliament building; and a dressing room, where two wardrobes of polished timber recovered from a tip are attached to the walls. Separate from the house is the strikingly original circular-shaped office made of bluestone sourced from the original Army campsite at Broadmeadows.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, alistair and margot knox house, alistair knox design, mudbrick construction, eltham, king street

Cap used with jacket for the uniform of the Ringwood Primary School band.Navy blue woollen material cap with red material insert and cotton stripe sewn angled on side, cream coloured lining. +Additional Keywords: McDougall, Lawrence

Item re Frederick Gardner DAVEY DFC No 410533 RAAF. Refer Reg No 3536P for his service details.Navy cloth cap. Chin strap fastened with 2 black bakerlite buttons featuring RAAF insignias. L side of cap has a metal RAAF insignia attached with a brass clip. Inside of cap lined with brown cloth. Brown suede leather sweat band.hats, raaf, uniforms

This cap potentially belonged to Ronald Edward Smith, Service number 419886. Date of birth - 30 Jun 1916 : Place of birth - MELBOURNE VIC : Place of enlistment - MELBOURNE : Next of Kin - SMITH ETHELThis hat holds representative significance as a generic RAAF officers forage cap. Further research into the potential owner could uncover other significance.Dark blue cap with medal ribbon attached to the side. RAAF eagle badge attached to peak of cap left hand side. Two buttons at peak of cap. The cap is lined with brown polished cotton twill and has a light brown cotton velveteen sweatband.Tag inside cap: 330 1944/Made in Australia / Size 1/8 Service number written in pen: 419886 (or 419856)raaf, australia, air force, cap, hat, beret, wwii, world war two

brass insignia badgeRAF laurel wreath crown missing one lug missing