In 1984 the Commonwealth Government made available to Flagstaff Hill a collection of lead ingots and copper sheets recovered from the wreck-site of the LOCH ARD. They were presented to the Warrnambool City Council by the Hon. Tom Uren MHR, Minister for Territories and Local Government: “The Commonwealth recognises that shipwrecks like the LOCH ARD are our national heritage with important educational, recreational and tourist applications” (The Standard, Tuesday 8 May 1984). The LOCH ARD was wrecked in 1878. Unsuccessful salvage operations were then undertaken with the 90 ton paddle steamer NAPIER. In sudden bad weather this vessel too was sunk. The precise position of the LOCH ARD in the exposed and dangerous waters off Mutton Bird Island became lost to memory. The underwater location of the LOCH ARD was rediscovered in 1967 by a Warrnambool skindiver, Stan McPhee. In the two years following his find, the vessel was systematically pillaged by unauthorised salvagers. This led to the State and Federal Governments’ intervention in 1969. A roundup and seizure of recovered lead ingots and copper sheets was conducted by Commonwealth and Victorian Police. Offenders were charged and convicted. The “repossessed loot of the Tassie Boys” was placed into secure storage (Jack Loney, 1978, Wrecks & Reputations). The LOCH ARD manifest of cargo lists “Pig lead 50 tons, 994 pig & 37 rolls” and “Copper 33 plates, 53 bolts”. While the lead ingots have been subsequently described as “ballast”, the copper sheets are unlikely to have been associated with the ship’s normal complement in that way. Similar product lines in the cargo manifest are “Bar and rod iron 102 tons”, “Plate iron 3 tons” and “Zinc 12 tons”. These raw materials were used by colonial artisans such as blacksmiths and metal smelters to fashion, and repair, agricultural implements and industrial machinery. Copper was valued for its non-corrosive properties and its malleability, or ease of working. Both these qualities were useful, for example, in laying underground gas pipes that supplied lighting to residences, businesses and streetscapes in the mid-nineteenth century. As the nineteenth century progressed, the metal was also increasingly valued for its conductivity, with copper wiring linking colonial communities to each other, and the wider world, via the Telegraph system. The average weight of the copper sheets is 216 kilograms, calculated by "volume 0.1936m³ X Cu density 8930kgs/m³".The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Large heavy sheets or panels of copper metal raised from the wreck of the LOCH ARD. The 10 sheets are of roughly similar dimensions and rectangular shape. They bear signs of prolonged submersion in seawater, with various degrees of limestone accretion, adhered marine growth, and green oxidisation. Three of the sheets are severely buckled, demonstrating the force of underwater explosives used in their salvage. One sheet appears cut or severed in a diagonal line downwards from its top left hand corner. One sheet has a 10cm X 10cm square cut out of its top right hand corner. All sheets are in sturdy, stable condition. No maker’s marks are visible.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, sailing ship, copper sheet, manutacturing materials, metal imports, muntz

Continuous nineteen page report for Sale No. 86 Fat Cattle Sale Bendigo dated 21/11/95. Report issued on the 21/11/95 by Ron Laird. Report lists the buyers name and the number of head purchased each time from each agent and the total number purchased. Agents names are abbreviated. Buyers names are: Bennetts Meats Pty Ltd, Boydies Butchers, KJ Carruthers, Clifford Quality Meats, Dalgety Farmers Pty, Arthur Dark, Elders Ltd, Ellis Nuttall & Co, Friswell K, R J Gilbertson,Gregory J, Grenfell N, Hardwick GF & VC, G Harper, Highland, ICM1, ICM4, ICM5, Maher L, Masons Meats Pty Ltd, JJ McAllister, McCashney & Co, McGillivary GK & GY, McIvor Meats, Midfield Meat Sholesa, Newman Livestock Sales 153, Newman Livestock Sales N 546, Newman Livestock Sales N 257, Newman Livestock Sales 3 269, O'Connor G & Kpty Ltd, Penney & Lang Pty Otd, J H Ralph & Son, Safeway No 188, Andrew Schenk, Starr A, Tehan TP & MW, Top Meats, Victorian Producers C, Wagstaff Cranbourne P, D & K Webb, Welsh, M/S K & J Wignall, RH Woodward & Co 442, RH Woodward & Co 466, Woodhead B, RH Woodward & Co 571, RH Woodward & Co 405, RH Woodward & Co 417,NLS12, Rod Mellier, Robertson and G Cook.bendigo, council, cattle markets, bendigo saleyards collection - fat cattle sale bendigo 21/11/95, ron laird, bennetts meats pty ltd, boydies butchers, kj carruthers, clifford quality meats, dalgety farmers pty, arthur dark, elders ltd, ellis nuttall & co, friswell k, r j gilbertson, gregory j, grenfell n, hardwick gf & vc, g harper, highland, icm1, icm4, icm5, maher l, masons meats pty ltd, jj mcallister, mccashney & co, mcgillivary gk & gy, mcivor meats, midfield meat sholesa, newman livestock sales 153, newman livestock sales n 546, newman livestock sales n 257, newman livestock sales 3 269, o'connor g & kpty ltd, penney & lang pty otd, j h ralph & son, safeway no 188, andrew schenk, starr a, tehan tp & mw, top meats, victorian producers c, wagstaff cranbourne p, d & k webb, welsh, m/s k & j wignall, rh woodward & co 442, rh woodward & co 466, woodhead b, rh woodward & co 571, rh woodward & co 405, rh woodward & co 417, nls12, rod mellier, robertson, g cook

Off White coloured glossy card. Pink writing. ST. Clement's Anglican Debutante Ball Huntly Friday, July 13th 1984. Programme Debutantes Partners Michelle Gran,t Jamie Creely, Robyn Wells, Norman Sheahan, Erica Wilkinson, Damien Tangey, Debbie Clarke, Greg Pocock, Natalie Gundry, Grant Andrea, Lynne Edwards, Rod Mills, Sally James, Darren Thompson, Kathy Creely, Peter Matthews, Lisa Tehan, Mark Yates, Amanda Clayton, Peter Morgan, Paula Ingham, Craig Clayton, Rosalyn Varker, Darren Cartner. Presented to The Bishop of Bendigo Rt. Rev. O. Heyward & Mrs Heyward 9.15p.m. Flower girl Kasie Watson, Page boy Andrew Swatton, Flower girl Emily Stevens, Page boy Bradley Clay, Chaperone Mrs. Bev. Read Trainers: Mr. Peter Ellis & Mrs. Mary Smith Pianist Mrs J.Grotto Announcer Mrs. M. Pitson MC Mr. Colin Silk 1 Foxtrot, 2 Charmaine, 3 Parma Waltz, 4 Gypsy Tap, 5 Foxtrot, 6 Pride of Erin, 7 Progressive Barn Dance, 8 Modern Waltz, 9 Maxina, 10 Evening Three Step, 11 Foxtrot, 12 Alberts, 13 Tangoette,14 Foxtrot, 15 Valetta Waltz/ St. Bernard Waltz, 16 Gay Gordons, 17 Swing Waltz, 18 Foxtrot Presentation Dance Metropolitan Quadrille. Autographs.person, individual, peter ellis oam

Black and white photograph taken from St Pauls Cathedral Melbourne, looking south over Princes Bridge, early 1950's. Has nine trams in the view, mainly W2's, but one W3 and many motor vehicles, trucks etc. Shows the gardens in the now Southbank area, the junction just past the bridge of South Melbourne tram line, Wirth Bros Circus and other buildings, Prince Henry's Hospital. In particular is an Olympic pool direction sign hanging below the Batman Ave tram sign. This would have been the pool in Batman Ave, nearer to Flinders St, within the Flinders St yard complex, not the 1956 pool. Directly below is a female pedestrian dress in the classic 1950's "Dior" look. Over the bridge on the west side is "The Trocadero" formerly The Green Mill Dance Hall opened on 07/09/1926. West of that again is "Olympia" run by Wirth's . In the distance is Prince Henry's Hospital, the tall section was built in 1942, since demolished. Rod Atkins noted that the Olympia burnt down in the early fifties about the same the Trocadia closed, so pre 1953. Note the centre pole is still place at the Sturt Street intersection. In Batman Ave we have two W2's 401 and earlier one. In St Kilda Road we have four W2's in foreground in then W3 - No. 667 then a W4 then a SW6 in the distance. Outbound on route 4D is 578, behind it is 340 on route 5. A safety zone is between 578 and 340.Stamped on rear "Australian Official Photograph / Department of Information" and the number "L3121" in pencil.trams, tramways, swanston st, princes bridge, melbourne, south melbourne, tram 401, tram 667, tram 578

In 1978 Diamond Valley Shire recognised the need for a new public hall in Diamond Creek. Council considered the Bini shell form of construction which was in operation overseas and in use in New South Wales as libraries, gymnasiums, sports centres and multi-purpose centres. The Council gave the go-ahead. A site was chosen opposite the Hotel and close to the railway line. One day in - the following year, in 1979, activity stood still in Diamond Creek as school children and other excited spectators watched the one-hour inflation of the Bini Shell. This unusual method of construction was invented by Italian industrial designer and architect Dante Bini. The construction pneumatically raises a level of reinforced concrete from ground level which has not been set, using an internal balloon. The inner membrane inflates and compresses the mesh and concrete against the outer membrane. A net of flexible steel rods was laid on the building’s circular base, on the top of a fabric bladder. 300 tonnes of reinforced concrete were poured onto the mesh and a sealed cover laid over the concrete making a sandwich of cover, bladder and mesh. Compressed air was pumped into the bladder and the sandwich slowly began to rise and become a massive self-supporting dome. After inflation and removal of the outer membrane workmen filled in any holes. It was some days before pneumatic drills pecked out the first opening. The ceiling of the concrete dome was lined with fluffy insulating material. The dome was 36 metres in diameter at the base and 12 metres high in the centre with a usable floor space of 670 square metres. An opening night dinner was held to celebrate the new facility on March 12, 1980. Shire President Ron Pata made a speech and unveiled a plaque. It was the first public building in Victoria to be erected using the Bini Shell design method of construction The facility could cater for up to 400 people and in 1980 a fee for use was $100 for up to 200 people, $150 for up to 300 people and $200 for up to 400 people. For the next ten years or so, locals attended the hall for marital arts classes, basketball and netball games and school discoes and various other activities. After pieces of concrete fell off a Bini shell interstate due to a construction fault, the Council closed the centre. Demotion took place during the Diamond Creek Town Fair in 1991, as part of the annual Town Fair’s program. Research by L.P. Jan 2022This was the first public building in Victoria to be erected using the Bini Shell design method of construction.Colour photograph1991, diamond creek, bini shell, demolition, oval

In 1978 Diamond Valley Shire recognised the need for a new public hall in Diamond Creek. Council considered the Bini shell form of construction which was in operation overseas and in use in New South Wales as libraries, gymnasiums, sports centres and multi-purpose centres. The Council gave the go-ahead. A site was chosen opposite the Hotel and close to the railway line. One day in - the following year, in 1979, activity stood still in Diamond Creek as school children and other excited spectators watched the one-hour inflation of the Bini Shell. This unusual method of construction was invented by Italian industrial designer and architect Dante Bini. The construction pneumatically raises a level of reinforced concrete from ground level which has not been set, using an internal balloon. The inner membrane inflates and compresses the mesh and concrete against the outer membrane. A net of flexible steel rods was laid on the building’s circular base, on the top of a fabric bladder. 300 tonnes of reinforced concrete were poured onto the mesh and a sealed cover laid over the concrete making a sandwich of cover, bladder and mesh. Compressed air was pumped into the bladder and the sandwich slowly began to rise and become a massive self-supporting dome. After inflation and removal of the outer membrane workmen filled in any holes. It was some days before pneumatic drills pecked out the first opening. The ceiling of the concrete dome was lined with fluffy insulating material. The dome was 36 metres in diameter at the base and 12 metres high in the centre with a usable floor space of 670 square metres. An opening night dinner was held to celebrate the new facility on March 12, 1980. Shire President Ron Pata made a speech and unveiled a plaque. It was the first public building in Victoria to be erected using the Bini Shell design method of construction The facility could cater for up to 400 people and in 1980 a fee for use was $100 for up to 200 people, $150 for up to 300 people and $200 for up to 400 people. For the next ten years or so, locals attended the hall for marital arts classes, basketball and netball games and school discoes and various other activities. After pieces of concrete fell off a Bini shell interstate due to a construction fault, the Council closed the centre. Demotion took place during the Diamond Creek Town Fair in 1991, as part of the annual Town Fair’s program. Research by LP January 2022This was the first public building in Victoria to be erected using the Bini Shell design method of construction.Digital copy of colour photographfred mitchell collection, 1983, bini shell, diamond creek

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, handmade. Tall slim Gallon style liquor bottle. Applied, double collar lip; square upper with flared lower. Neck has seams and shoulder seam from 3-piece mould. Body with horizontal ripples tapers inwards to base. Push-up base with pontil mark and embossed inscription. Tape over wire around mouth. Cork remnants inside mouth. Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, handmade. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper with flared lower. Push-up base with pontil mark and embossed inscription. Base is uneven, glass composition has imperfections.Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, handmade. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper and flared lower. Neck has seams and shoulder seam from 3-piece mould. Body tapers towards base. Push-up base with pontil mark and embossed inscription. Base is uneven. Mouth has remnants of the seal in it and tape remnants around its outside. Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, olive green glass, handmade. Tall slim, Gallon style liquor bottle. Applied double collar lip; square upper with flared lower. Neck is slightly bulged and there is a mould seam where shoulder joins base. Body tapers inward to base. Uneven base with deep push-up centre with small pontil mark. Scratches and imperfections in glass. Also encrustations on surface. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, olive green glass, handmade. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper and flared lower. Mouth has remnants of tape and wire seal. Mould seam around shoulder. Body tapers slightly inward to the base. Push-up base has pontil mark and is embossed in large letters. Base is uneven. Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from an unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, Tall slim gallon style. Applied double collar lip; upper is straight, lower is flared. Lip has bumps around the top. Neck has slight taper towards shoulder, which has a shoulder seam from the mould. Body tapers inwards towards base. Push up base has a pontil mark. Base is embossed.Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

This is a set of seven colour and black and white photographs of Army Survey Regiment’s Australian Rules football team – the Fortuna Lions aka “Fortuna Fumblers”, taken at Seymour and Bendigo Victoria in 1983. The Fortuna Lions competed in the Puckapunyal Area Football Association for several years from 1978 to 1984 and in 1983, fielded a great team it managed to reach the Grand Final. Held at the neutral ground at Kings Park, Seymour, the match was an incredibly exciting and bruising contest played in damp conditions and ended in a draw. Dave Lawler’s spectacular mark was a highlight. Due to heavy rain during the following week, the Grand Final replay was held the following week in even heavier conditions. The Fortuna Lions prevailed in the replay with an emphatic victory. The team’s leaders were Eddie Jacobs (coach), Rhys De Laine (captain), Greg Else (vice-captain), and Ken Slater (manager). Refer to items 6244.27P (black & white) and 6245.26P (colour) for other photographs taken at the two grand finals.This is a set of seven photographs of Army Survey Regiment’s Australian Rules football team – the Fortuna Lions aka “Fortuna Fumblers”, taken at Seymour Victoria in 1983. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, colour. 1983. Fortuna Lions Football Team - Back row L to R: Don Mawson, Stuart Ridge, Alan Staley, Doug Home, Dave Lawler, Greg Byers, Glenn Cannon, Keith Quinton, Mick ‘Buddha’ Ellis. Middle row L to R: Brian Paul, Dennis Learmonth, Greg Higgins, Jim Ash, Larry Thompson, Rhys De Laine, Eddy Jacobs, Ken Slater, Bob Thrower, Andy Godden, Nick Van Dalen, Peter Colwell, Warren ‘Wah’ Hall. Front row L to R: Mick Hogan, Rod Skidmore, Terry McIntyre, Greg Else, Terry Winzar, Peter Jones. .2) - Photo, colour. 1983. Fortuna Lions Football Team Grand Final Banner. .3) - Photo, colour. 1983. L to R: Kristin (Isaac) Skidmore, Santina (Argetto) Straube, Stuart Ridge, Nick Van Dalen, Larry Thompson, Jim Ash, Carmel (Butler) Fauth, Gayle Humphrey. .4) - Photo, black and white. 1983. Jim Ash in celebration. .5) - Photo, black and white. 1983. L to R: unidentified, Brian Fauth, Glenn Cannon. .6) - Photo, black and white. 1983. L to R: Doug Home, back of Warren ‘Wah’ Hall, Terry Winzar with premiership cup. .7) - Photo, black and white. 1983. Larry Thompson with premiership cup..1P to .7P – there are no annotations.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

Black and white photograph of the construction of the tram track in St Kilda Road, during 1925 or 1926 by the Foundation Construction Ltd, with a concrete mixer tracked vehicle and two aggregate or crushed rock trucks. Photo from the Collection of the Department of Infrastructure now with the Public Records Office - image number H514. Note: this photo is now out of copyright and was not an original VR photograph, but one copied from another source and collected as their Heritage series. See Image 3674i2 and 3674i3 for a digital image of the card photograph at the PRO on 7/1/2019 that this photograph comes from. Further notes from Rod Atkins 11/7/2019: The cement mixer was state of the art machine at the time. "Buddy" in the USA were making them but this one is slightly different and may have been made by a company call AAC in Sheffield U.K. You can just make out the word " ….field" etc … on the water tank . The sign; now this is very interesting. "The Foundation Company" is the Australian company of the one in London.. from The Argus at the time. run by no less than by Herbert Del Cott Ply Ltd. (you can just make that out in the bottom line of the sign.) A rather interesting person in Melbourne society between the wars. His name pops up a lot in The Argus. was not short of a pound either.... Had his "Buick" stolen from Russell Street in 1920. Had some issues with wages on Wellington Street conversion. Looks to have run a electrical business before seeing opportunity with cable tram replacement coming up. In the 1930' lived in Stevenson Street, Kew. Travelled a lot to Europe. (Austria) …..Has Department of Infrastructure copy right stamp on rear and number "H 514" in ink on rear and "2-1"trams, tramways, st kilda rd, trackwork, construction, conversion

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. However, this bottle is rare, in that the base has been embossed then over-embossed with the same text, letters overlapping. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is a rare find, in that the base has been over-embossed with the same lettering, letters overlapping one another. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, over embossed, brown glass, handmade, rare. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper and flared lower. Mouth has sealing tape remnants around top. Mould seam around shoulder. Body tapers inwards to push-up base. Top edge of lip has application faults. There is also a rectangular indent in the upper edge of lip. Base is embossed and over embossed, with the letters overlapping each other. Embossed on base "6 TO THE GALLON", then over-embossed with the same "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable, over embossed, rare

a & b/ Grand Variety Concert, Kiwanis Club of Bendigo. J B Osborne Theatre, Kangaroo Flat, Bendigo. 7.30pm Saturday, 4th September 1993. What Is A Kiwanian? A Kiwanian is a person of good character who adheres to the standards of good conduct in the community and believes . .. Kiwanis Club of Bendigo All the performers in tonight's program have given. .. The Kiwanis Story Kiwanis was founded in Detroit, Michigan, USA. January 21, 1915. The name 'Kiwanis' is taken from an Indian term 'Nun Kiwanis', which roughly means 'Self Expression'. .. Acknowledgements: Official Accompanist - Leila Watson, Stage Manager - Rod Symes, Sound System - Bendigo Audio Productions, Ticket Sales - Collins Booksellers, News Media - Bendigo Advertiser, Lighting - David Wilkinson. Coca Cola Operations. Underprivileged Children, A Kiwanis Concern. Program, Alan Douglas, President, Kiwanis Club, Bendigo. Bendigo Youth Orchestra - Conducted by Daniel Herbst. Valerie Broad Melodic Memories. Sandhurst Drummers - Drum Song. Shantelle Ackland - Grace and Beauty. Aaron Shelton - Tapping Tempo. Neil Cox - Keyboard Carousel. Carlie Sutton and Christy Brain - Boogie Woogie. Tatiana Macura & Alison Grenfell - Voices In Spring. Jack Paynting & Norm Fildew - Comedy Capers. Mi Casa Singers - Harvest of Harmony. Sung-a-long 'You in my Eyes' Lyrics: Rick Norris, Music: Ron Kruze. Bendigo Gym Centre - Creating Magic in the Air, Trainer John Palmer. Janine Giri - Vocal 'Feat'. Estelle Randall - Terse Verse. Kathryn & Christopher Field - Music Maestros. Christy Brain & Carlie Sutton - Beauty & Ballet. Nadine Ellery - 'Dream Time'. Jonathan Cox - Magic of Music. Anton Theatrical Dance Company - Sound of C. Compere: Valerie Broad. Advertisement: Gillies, Pies & Pasties. ''Get me a Gillies''.program, theatre, grand variey concert, kiwanis, a & b/ grand variety concert, kiwanis club of bendigo. j b osborne theatre, kangaroo flat, bendigo. 7.30pm saturday, 4th september 1993. what is a kiwanian?. .. kiwanis founded in detroit, michigan, usa., 1915. the name 'kiwanis' is taken. ..: official accompanist - leila watson, stage manager - rod symes, sound system - bendigo audio productions, collins booksellers, news media - bendigo advertiser, lighting - david wilkinson. coca cola operations. underprivileged children, a kiwanis concern. program, alan douglas, president, kiwanis club, bendigo. bendigo youth orchestra - conducted by daniel herbst. valerie broad melodic memories. sandhurst drummers - drum song. shantelle ackland - grace and beauty. aaron shelton - tapping tempo. neil cox - keyboard carousel. carlie sutton and christy brain - boogie woogie. tatiana macura & alison grenfell - voices in spring. jack paynting & norm fildew - comedy capers. mi casa singers - harvest of harmony. sung-a-long 'you in my eyes' lyrics: rick norris, music: ron kruze. bendigo gym centre - creating magic in the air, trainer john palmer. janine giri - vocal 'feat'. estelle randall - terse verse. kathryn & christopher field - music maestros. christy brain & carlie sutton - beauty & ballet. nadine ellery - 'dream time'. jonathan cox - magic of music. anton theatrical dance company - sound of c. compere: valerie broad. gillies, pies & pasties. ''get me a gillies''.

Yields information in movie film format of Ballarat trams in 1962, a enthusiast tour, how the system operated and was used by people., Yields information in movie film format of Ballarat trams in 1962, a enthusiast tour, how the system operated and was used by people.Movie film - 8mm, approx. 4.15mins, with green leader strip on a plastic reel, within a Gevaert film cardboard box, with a Harvin Film Laboratory r, Marrickville NSW label and address to B.J. Parle, Chatswood and a 5d stamp. Titled "Ballarat 1962". Has been transferred to DVD - see Reg item 4100 as Segment No. 6. Filmed and made by Ben Parle. Also transferred to DVD by Rod Cook Oct. 2015, via Roger Greenwood for use in his DVD, "The City of Ballarat Trams, Gardens & Gold" of 2016. See Reg Item 6883. Synopsis: based on time - Black and White film Title "Ballarat 1962" 0:00 37 departing City Centre in Sturt St, east bound, followed by 18 0:23 18 and 37 arriving into City Loop from Bridge St. 0:40 18 and 37 passing through the Gregory St Loop 0:54 18 and 37 arriving and at Lydiard St Nth terminus 1:15 18 and 37 in Lydiard St Nth 1:22 18 and 37 at Railway St gates, with gates closed with B class hauled passenger train, wooden and air-conditioned carriages departing. 1:51 Interior view of passengers in 18 2:10 View from a side window of 18 turning from Lydiard St Nth into Sturt St, heading east, with an inspector getting off No. 18 2:23 View from front window in Victoria St and entering King St loop to cross No. 14. 2:55 18 and 37 departing King St loop, in bound. 3:10 18 in Barkly St, outbound 3:38 42 in bound Drummond St Nth and turning into Sturt St at Hospital corner. 4:16 End Written labels giving title information on outside of box.trams, tramways, ballarat, gardens, victoria st, bridge st, sturt st, tram 18, tram 37, tram 42

Black and white negative, by Wal Jack, of W2 343 (Essendon Aerodrome Route 59) and SW6 860 (City Route 19) southbound in Elizabeth St, c1955 near to Franklin St Note the Moomba decorations in the overhead. In the background is Disney's (at 416 Elizabeth St a Holden dealer) with flags under the verandah) Rod Atkins advised 7/9/2020: "He was born in Ballarat to Arthur Disney and Isabella Christina Hill. During World War I he served with the Australian Flying Corps and was at Gallipoli. He then became a motor dealer, running his own company. In June 1924 he married Ruby Chapman. From 1935 to 1952 he served on Melbourne City Council. He was elected to the Victorian Legislative Council in 1940 as a United Australia Party member, representing Higginbotham Province; at this time his father still represented Melbourne West for the Labor Party. Disney was a supporter of Ian MacFarlane, and served in his brief ministry in October–November 1945 as Minister of Transport and Mines. He consequently lost Liberal endorsement in 1946 and was defeated. In 1948 he was elected Lord Mayor of Melbourne, serving until 1951; during this period he was closely involved with securing the 1956 Olympic Games for Melbourne. Knighted in 1951, Disney died in 1952 at Auburn.[1] The ones at Swanston street are taken on different days. Yes there is one of those under powered Jaguars parked across the road .... Did you notice the tram signal on the pole? An interesting thing I did not know looking at all three photos is that the flag pole holder on the route number box is on the inside. So when did it move to the outside of the box? On the photo of the RAAF tram, there is one employee wearing a cap but appears to be wearing overalls? I wonder what that is all about? "trams, tramways, sw6 class, w2 class, route 59, route 19, elizabeth st, moomba, tram 343, tram 860

The Bentwood chair has been called ‘the world’s most popular chair’. The original Bentwood chair, was designed by German-Austrian cabinet maker and Master Joiner, Michael Thonet (b.1796 - d.1871) and introduced to the market in 1859. Thonet started his business in his home town of Boppard as an independent cabinet maker in 1819. In the 1830’s he began trying to make furniture from glued (laminated) and bent wooden slats. Over the next few years his attempts to patent this process failed in Germany, Great Britain, France, and Russia. He then began using lightweight, strong wood and bending it into elegant, comfortable furniture. The Bentwood technology took Thonet years to perfect. In simple terms, the wooden rods or lengths were wet by soaking or steaming, bent into shape and then held in place until they hardened into the moulded curved shape or pattern. The wood usually chosen for the bentwood chairs was maple or beech. Thonet had revolutionised an older process by industrialising the process. The dowels of wood were cut and prepared as components of furniture, treated by the ‘bentwood’ process, then ready immediately for assembling with very little extra workmanship needed. Thonet held 2 patents for this process, the second one ended on 10th July 1869 and was non-renewable. At the Trade Fair at Koblenz of 1841 Prince Klemens Wenzel von Mettemich was very impressed with Thonet’s furniture, especially the chairs. In 1842 Thonet sold his Boppard business and emigrated to Vienna, and began working, along with his sons, on the interior decoration of the Palais Leichtenstein, for the Carl Leistler establishment. In 1849 he began his own business again, the Gebruder Thonet to include his sons (translated “Brothers Thonet”). He produced the “No. 1” Bentwood chair. He received a bronze medal for his Vienna bentwood chairs at the World Fair in London in 1851, and a silver medal in Paris in 1855. In 1856 he opened a new factory in Koritchan (Moravia), where there were extensive woods of beech trees available for his enterprise. In the next years, five more Eastern European production sites were established in Bystritz (1862), Nagy-Ugrócz (1866), Wsetin (1867), Hallenkau(1867) and Nowo-Radomsk(1880). Thonet’s 1859 No. 14 “chair of chairs” (or “Konsumstuhl Nr. 14” – coffee shop chair no. 14) was the most famous of all of Thonet’s Bentwood chairs. In 1867 he received a gold medal at the Paris World Fair. This new style of furniture making became very popular. Up until 1830 50 million of these chairs had been produced. By the 1870’s Thonet owned offices in almost 20 countries, with sales locations across Europe, in Chicago and New York. In 1889 he set Thonet set up a head office in Frankenberg, Hesse. Bentwood models designed in the mid to late 19th century featured hand-caned or laminated wood seats and were usually stamped with the country of origin. The Bentwood elements were the backrest, seat rim and legs. Typically the seat was covered with ‘bucket’ leather. After the Patent ran out in 1869, companies such as Jacob & Josef Kohn began the production of bentwood furniture.The popularity of the Bentwood chair that was introduced by Michael Thonet in the 1850s is due to its versatility and timeless quality. Its style, whether varnished or painted, suits any room in the house. The lightweight chairs are also popular for café and restaurant seating, as well as for public gatherings. They can be easily moved around and grouped in a variety of ways to suit any occasion.Chair, bentwood, pair of two. Backrest has full length inverted U inside frame. Support rail and wire reinforcing between legs. 3692.01 seat has floral pattern pressed into wood 3692.02 seat is plain (replacement seat). Made by Harnison & Co.3692.01 chair's marks; Label ""HARNISON & CO./ NEUSOL / BUDAPEST" and "WIENER NOBEL" and "(symbol) N inside circle, under Crown" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, domestic furniture, dining furniture, bentwood chair, harnison & co., neusol, budapest, wiener nobel

The letters of the completed banner were made by different churches within in the presbytery of Gippsland and spell a sentence, presumably, "BUILD YOUR CHURCH LORD!" Orbost was one of the churches that had the finished banner on display. 24 small banners with tabs at the top of each for hanging on a rod. 19 have large blue letters appliqued on them. Twenty two of the banners are roughly square and two are smaller and oblong. Three have no letters and are used as spacers in the four word sentence that the letters make. The banners are decorated with rural and coastal images. BN068.1 "B" with an embroidered boat with the number 1 on the sail. BN068.2 "U" fabric paint words: "LOCH POOWONG east poowong nyora strezlecki kernang athlone" BN068.3 "I" "Korumburra" BN068.4 "L" with a pelican, fishing boat with a net, shells and sand BN068.5 "D" with the UCA emblem and "BUNYIP Garfield Longwarry" BN068.6 "Y" BN068.7 "O" with fabric paint flag, ram, road and trees and a cow BN068.8 "U" BN068.9 "R" with green and yellow wattle in fabric paint BN068.10 "C" with ric-rac round the letter and three churches appliqued in the top left corner BN068.11 "H" edged with pale blue metallic fabric paint BN068.12 "U" with sunrise over the sea with gold chain sunbeams and sequins BN068.13 "R" with fine blue embroidery at each corner and only two tabs BN068.14 "C" with appliqued boat, sky and sun BN068.15 "H" with a black swan with a red beak BN068.16 "L" with appliqued and fabric painted scene of a beach, hills and city smoke on the horizon BN068.17 "O" with painted corn cobs in each corner BN068.18 "R" with cows, hills, sheep and a sack BN068.19 "D" with machine embroidered church "St Matthews Yinnar", hands "Friendship", building "UCA Yinnar", chuch "Holy Innocents YINNAR STH" "(Californian RED WOOD)", tree "BIG TREE grows at Christ Church Boolarra" BN068.20 "!" with fabric brown cow in grass BN068.21 spacer with appliqued house, bushes and barn BN068.22 spacer with appliqued sun with ribbon rays and black white and brown figures BN068.23 & BN068.24 spacer with a small UCA red dove in the centre "B U I L D Y O U R C H U R C H L O R D !"uniting church adult fellowship

Off White coloured glossy card. Pink writing. ST. Clement's Anglican Debutante Ball Huntly Friday, July 13th 1984. Programme Debutantes Partners Michelle Grant, Jamie Creely, Robyn Wells, Norman Sheahan, Erica Wilkinson, Damien Tangey, Debbie Clarke, Greg Pocock, Natalie Gundry, Grant Andrea, Lynne Edwards, Rod Mills, Sally James, Darren Thompson, Kathy Creely, Peter Matthews, Lisa Tehan, Mark Yates, Amanda Clayton, Peter Morgan, Paula Ingham, Craig Clayton, Rosalyn Varker, Darren Cartner. Presented to The Bishop of Bendigo Rt. Rev. O. Heyward & Mrs Heyward 9.15p.m. Flower girl Kasie Watson, Page boy Andrew Swatton, Flower girl Emily Stevens, Page boy Bradley Clay, Chaperone Mrs. Bev. Read Trainers: Mr. Peter Ellis & Mrs. Mary Smith Pianist Mrs J.Grotto, Announcer Mrs. M. Pitson, MC Mr. Colin Silk, 1 Foxtrot Mary (Handwritten in Pencil), 2 Charmaine Muriel (Handwritten in Pencil), 3 Parma Waltz Mary (Handwritten in Pencil), 4 Gypsy Tap Lex (Handwritten in Pencil), 5 Foxtrot Muriel (Handwritten in Pencil), 6 Pride of Erin Mary (Handwritten in Pencil), 7 Progressive Barn Dance Lisa (Handwritten in Pencil), 8 Modern Waltz Muriel (Handwritten in Pencil), 9 Maxina Esma (Handwritten in Pencil), 10 Evening Three Step Lois (Handwritten in Pencil), 11 Foxtrot 12 Alberts Mary (Handwritten in Pencil), 13 Tangoette Ila (Handwritten in Pencil), 14 Foxtrot Mary (Handwritten in Pencil), 15 Valetta Waltz/ St. Bernard Waltz Lex (Handwritten in Pencil), 16 Gay Gordons Jane (Handwritten in Pencil), 17 Swing Waltz Mary (Handwritten in Pencil), 18 Foxtrot Muriel (Handwritten in Pencil), Presentation Dance Metropolitan Quadrille. Autographs.person, individual, peter ellis oam

Set of 11 black and white photographs sent to Keith Kings received from Ken Flood 4/6/1975. .1 - Bus No 203 1940 Leyland TD5c - Turning from Nicholson Street into Gertrude Street. - bound for Northcote. .2 - Bus No 201 1940 Leyland TD5c - In Nicholson Street at Albert Street - Photo. bound for Northcote .3.- Bus No 492 1943 Ford Austerity - at Queens Pde Clifton Hill - Note the Pram and Passenger bus sign by the front doorway. Photo not dated. .4 - Bus No 365 1948 OPS1 - Nicholson Street at Victoria Pde. bound for East Brunswick. Photo not dated. .5 - Bus No 325 1950 OPS4 - Nicholson Street at Victoria Pde. bound for East Brunswick. Photo not dated. Bus did not enter service until 1950. .6 - Bus No 500 1943 Ford Austerity - Marine Pde. Point Ormond. Note the Pram bus sign by the front door. .7 - Bus No 19 1938 Leyland Cub (diesel) with Preston Workshops body. - Lonsdale Street at William Street. W2 No 305 passes behind the bus. Late 1940's photo. .8 - Bus No 143 1940 Leyland TS8c drop enter - in Russell Street at LaTrobe Street bound for North Kew. (Belford Road via Collingwood). Photo not dated. .9 - Bus No 9 1938 Leyland Cub (diesel) with Preston Workshops body. - in Russell Street at LaTrobe Street bound for North Carlton .10 - Bus No 4 1938 Leyland Cub (Diesel) with Preston Workshops body - in Lonsdale Street at William Street. note destination not reset for the return trip. .11 - Bus No 150 1940 Leyland TS11c Drop enter - Nicholson Street at Victoria Pde. Photo not dated. Most of the photos dated 9/6/1949 unless noted otherwise. Notes on photos provided by Rod Atkins - see htd5860doc.pdfOn rear of the photos in ink; .1 - MMTB 203 9/6/49 - K Flood .2 - MMTB 201 - 9/6/49 - K Flood .3 - MMTB Ford #492 - K Flood .4 - MMTB #365 - K Flood .5 - MMTB #325 - K Flood .6 - MMTB #500 Pt Ormond 6/6/49 - K Flood .7 - MMTB #19 9/6/49 - K Flood .8 - MMTB #143 - K Flood .9 - MMTB #4 9/6/49, K Flood .10 - MMTB #4 9/6/49, K Flood .11 - MMTB #150 - K Floodtrams, tramways, buses, double deck buses, prams, mmtb buses, austerity buses, w2 class, tram 305, bus 203, bus 201, bus 492, bus 365, bus 500, bus 19, bus 143, bus 9, bus 4, bus 150, leyland, ford motor company, td5c class, ops1 class, ops4 class, ts8c class, cub class, ts11c class

This is a set of 25 photographs taken at the combined Officer, Warrant Officer and Sergeant’s Mess Summer Ball held at the Army Survey Regiment (ASR), Fortuna Villa on the 25th of February, 1995. The Summer Ball was one of the last large scale formal functions held at Fortuna Villa before ASR’s closure the following year. Photos of personnel and their guests was taken on their arrival near the Pompeii Fountain in the gardens at the front of the main building. The Ball and Dinner was held at the rear of Fortuna Villa in temporary 20’ x 30’ Army tents set up on the roadway in front of the transport compound. SERCO contract staff provided the catering and the ASR’s Other Ranks performed stewarding and kitchen hand duties. Refer to item 6347 for information on the administrative file held in the collection and items 6370.23P, 6371.33P and 6373.36P for additional photographs taken at the Summer Ball.This is a set of 25 photographs taken at the Officer, Warrant Officer and Sergeant’s Summer Ball held at the Army Survey Regiment, Fortuna Villa on the 25th of February 1995. The colour photographs are on 35mm negative film and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 96 dpi. .1) - Photo, colour, 1995. Brian Johnson and partner. .2) - Photo, colour, 1995. Doug Willis and partner. .3) - Photo, colour, 1995. Craig Kellet and partner. .4) - Photo, colour, 1995. Barry and Jenny Hogan. .5) - Photo, colour, 1995. Mick and Margaret Ellis. .6) - Photo, colour, 1995. Peter Tuddenham and partner. .7) - Photo, colour, 1995. Peter and Jo Peterson. .8) - Photo, colour, 1995. Pat and Jeanette Dury-Lane .9) - Photo, colour, 1995. Kevin and Joy Kennedy. .10) - Photo, colour, 1995. Stuart Symonds and his partner Caroline. .11) - Photo, colour, 1995. Jim and Tracy Ash. .12) - Photo, colour, 1995. Graham Wybar and partner. .13) - Photo, colour, 1995. L to R: Graham Wybar and partner, Jan and Kevin Doyle, unidentified guests. .14) - Photo, colour, 1995. Peter and Annette Curtis. .15) - Photo, colour, 1995. John and Tracey Phillips. .16) - Photo, colour, 1995, Barrie Craymer and partner. .17) - Photo, colour, 1995. Rod and Kristin Skidmore. .18) - Photo, colour, 1995. Dale Hudson and partner. .19) - Photo, colour, 1995, Bob Garritty and partner. .20) - Photo, colour, 1995. Steve and Sherri Burke. .21) - Photo, colour, 1995. Brett and Juana Van Leeuwen. .22) - Photo, colour, 1995. Bob and Margaret Thrower. .23) - Photo, colour, 1995. Steve and Helen Drummond. .24) - Photo, colour, 1995. Rhys and Joanne De Laine. .25) - Photo, colour, 1995. Mr & Mrs Townshend, Ken Cugley and partner..1P to .25P There are no personnel or civilians identified.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

The design of this and other similar treadle powered dental engine (or dentist drill) was in common use by dentists from the 1870’s into the 1920's. When electricity became accessible to most communities the electrically powered dental engines began to take over from the treadle power. Over the ages teeth were extracted using picks and scissors and other gouging instruments. Bow drills, hand drills and even a "bur thimble" drill were later used to prepare cavities for filling. Some drills were made bendable by attaching flexible shanks between the metal bur and the handle, giving access to the teeth at the back of the mouth. Other mechanical devices were introduced along the way, such as clockwork drills, but they were hard to handle and inefficient. Over the centuries “dentistry has been performed by priests, monks and other healers. This was followed by barbers; the barber’s chair may well have been the precursor to the dental chair. “(SA Medical Heritage Society Inc.) In 1871 James Morrison patented the first commercially manufactured 'foot treadle dental engine', the first practica dental engine although others had been introduced as early as 1790 (by John Greenwood). Handmade steel burs or drills were introduced for dental handpieces, taking advantage of the significant increase in the speed of the drill. In 1891 the first machine-made steel burs were in use. The treadle drill reduced the time to prepare a cavity from hours to less than ten minutes. In 1876 the Samuel S. White Catalogue of Dentist Instruments listed a 12 ½ inch wheel diameter dental engine, with 14 bright steel parts, for sale at US $55 In today’s market, this is the equivalent to US $1200 approx. The specifications of that dental engine are very similar to the this one in our Flagstaff Hill Maritime Village’s collection. It is interesting to note that workings of a similar treadle dentist drill were used and modified to power a treadle spinning wheel of one of the volunteer spinners at Flagstaff Hill Maritime Village. The foot treadle dental engine was a milestone in dental history. “Historic importance of treadle powered machines; they made use of human power in an optimal way” (Lowtech Magazine “Short history of early pedal powered machines”) The invention of a machine to speed up the process of excavation of a tooth lead to the invention of new burs and drills for the handpieces, improving speed and the surgical process of dentistry. They were the fore-runner of today’s electrically powered dental engines. This treadle-powered dentist drill, or dentist engine, is made of iron and steel and provides power for a mechanical dental handpiece that would be fitted with a dental tool. On the foot is painted lettering naming it "The Brentfield" and there is a fine line of light coloured paint creating a border around the name. The paint under the lettering is peeling off. The drill has a Y-shaped, three footed cast iron base, one foot being longer than the other two. A vertical frame is joined into the centre of the base, holding an axle that has a driving-wheel (or flywheel) and connecting to a crank. A slender, shoulder height post, made from adjustable telescoping pipes, joins into the top of this frame. On the post just above the frame is a short metal, horizontal bar (to hold the hand-piece when it is not in use). A narrow tubular arm is attached to the top of the stand at a right angle and can move up, down and around. There is a pulley each side of the joint of the arm and a short way along the arm is fitted a short metal pipe. A little further along the arm a frayed-ended cord hangs down from a hole. At the end of the arm is another pulley and a joint from which hangs a long, thin metal pipe with two pulleys and a fitting on the end. A treadle, or foot pedal, is joined to the long foot of the base, and joined at the toe to the crank that turns the driving-wheel. The metal driving-wheel has a wide rim. Touching the inside of the rim are four tubular rings that bulge towards the outside of the driving-wheel, away from the pole, and all meet at the hub of the axle. The axle fits between the inside of the driving-wheel and the frame then passes through the frame and is attached on the other side. The driving-wheel has a groove around which a belt would sit. The belt would also fit around a pulley on the arm, at the top of the post. The pulley is joined to a rod inside the arm and this spins the drill's hand-piece and dental tool holder. The foot pedal has a cross-hatch pattern on the heel and the ball of the foot has tread lines across it. The end of the toe and the instep areas have cut-out pattern in them. "The ____/ Brentfield / __ DE IN L___" (Made in London) painted on the long foot of the base. Marked on the drill connection is “Richter De Trey, Germany”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dentist, teeth, dental drill, dental engine, treadle drill, foot powered drill, treadle engine, orthodontics, dental surgery, james morrison, the brentfield, richter de trey, german dental fitting, london dental drill

Yields information in movie film format of Ballarat trams in 1962, a enthusiast tour, how the system operated and was used by people., Yields information in movie film format of Ballarat trams in 1962, a enthusiast tour, how the system operated and was used by people.Movie film - 8mm, approx. 4.15mins, with green leader strip on a plastic reel, within a Kodachrome II colour movie cardboard box and addressed to B.J. Parle, Chatswood. Titled "Ballarat 1962" Has been transferred to DVD - see Reg item 4100 as Segment No. 3. Filmed and made by Ben Parle. Also transferred to DVD by Rod Cook Oct. 2015, via Roger Greenwood for use in his DVD, "The City of Ballarat Trams, Gardens & Gold" of 2016. See Reg Item 6883. Synopsis: based on time - Colour film Title "Ballarat 1962" 0:00 21 in Sturt St arriving City Centre tram stop from the west. 0:12 41 and another bogie car at City Centre tram stop, North side of Sturt St loading passengers 0:21 39 crosses Sturt St from Lydiard St Nth and pulls up at the tram stop in Sturt St. 0:55 39 leaves City centre and travels west along Sturt St – two sequences. 1:11 View from front of a single trucker, leaving Carlton St loop after crossing a bogie car and travelling along Wendouree Parade towards Gardens Loop 2:09 No. 20 in Gardens Loop and pan across to the Gardens Statuary pavilion with lots of flowers. 2:41 No. 20 leaving Gardens loop and heading north in Wendouree Parade. 2:54 Bogie tram in Wendouree Parade between depot and Gardens loop, southbound. 3:12 No. 32 leaving Victoria St terminus, with orphanage in the background, in bound, has a Trotting tonight sign on front of tram, and crossing the Eureka line rail bridge. 3:23 No. 20 in Bridge St, out bound, near Stones Corner 3:42 38 in bound from Mt Pleasant at Stones Corner, stops, lets of passengers and then proceeds along Bridge St into the City 4:15 endWritten labels giving title information on outside of box.trams, tramways, ballarat, wendouree parade, sturt st, victoria st, bridge st, tram 21, tram 41, tram 39, tram 20, tram 32, tram 38

This bearing cap is thought to be from a donkey winch engine, (or steam donkey, or donkey winch), which is a small secondary steam engine with a cylindrical shaped boiler. In 19th century merchant sailing a steam donkey was often used in marine applications such as to help raise and lower larger sails, load and unload cargo or to power pumps. The bearing cap could have been used on the donkey engine to hold the rod of the winch gear wheel in place, or bolted to another bearing cap around the neck on the top of the boiler’s cylinder, connecting it to the flue. The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1889 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt, the main export product of Sharpness. At about 9pm on 28th August 1892, in heavy weather, Captain Scott sighted, between heavy squalls, the Cape Otway light on the mainland of Victoria but, due to a navigational error (the ship’s chronometers were wrong), he assumed it to be the Cape Wickham light on King Island, some 40 miles south. He altered his course to the north, expecting to enter Bass Strait. The ship was now heading straight for the south west Victorian coast. At about 1:30am the Newfield ran aground on a reef about 100 yards from shore and one mile east of Curdie’s Inlet, Peterborough. The ship struck heavily three times before grounding on an inner shoal with 6 feet of water in the holds. Rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The rescue was a difficult operation. The Port Campbell Rocket Crew arrived and fired four rocket lines, none of which connected with the ship. Peter Carmody, a local man, volunteered to swim about one mile off shore to the ship with a line to guide the fourth and final lifeboat safely to shore. He was assisted by James McKenzie and Gerard Irvine. Seventeen men survived the shipwreck but the captain and eight of his crew perished. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one man style of navigation" and that the Captain had not heeded the advice of his crew. According to Jack Loney ‘… when the drama was over . . the Newfield was deserted except for the Captain’s dog and two pigs.’ Peter Carmody was awarded the Bramley-Moore medal by the Liverpool Shipwreck and Humane Society for Saving Life at Ssea, which he received by mail on January 21st 1893. The medal and a letter of congratulations were donated to Flagstaff Hill Maritime Museum by Peter Carmody’s grand-daughter Norma Bracken and her son Stuart Bracken on 25th May 2006. The Bearing Cap joins other items in the Newfield collection.Flagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreck.Brass bearing cap from the wreck of the sailing ship “Newfield” is possibly from a donkey winch engine. The half-circle shaped cuff with a rectangular brass block attached to the outside of each end of the half-circle. Both blocks have a round hole in their centre and are approximately the same depth and width as the cuff. Midway around the half-circle cuff is another brass block that is about twice the depth of the cuff. It appears to have been a circular shape that has been modified to match the width of the collar, having had the sides of the circle cut off to leave straights edge parallel to the edges of the cuff. In the centre of this block is another hole, and there appears to be the head of a bolt inside this hole. The bearing cap is lightly encrusted.1893, flagstaff hill, flagstaff hill maritime museum, maritime museum, warrnambool, newfield, 1892, 28 august 1892, port campbell, shipwreck, nineteenth century, ship, curdie s river, victorian shipwrecks, barque, ship wreck, 29 august 1892, 19th century, bearing cap, donkey engine, donkey winch, steam donkey

From the Victorian Heritage Register statement of significance H0791 The Marmalake/Murtoa Grain Store, originally the No.1 Murtoa Shed, is located within the Murtoa Grain Terminal, adjacent to the grain elevator tower and railway line. The shed is 280m long, 60m wide and 19m high at the ridge with a capacity of 3.4 million bushels. The hipped corrugated iron roof of the shed is supported on approximately 600 unmilled hardwood poles set in a concrete slab floor and braced with iron tie rods. These poles are the reason for use of the term "stick shed". With its vast gabled interior and the long rows of poles the space has been likened to the nave of a cathedral. An elevator at one end took wheat from railway trucks to ridge level where it was distributed by conveyor along the length of the shed, creating a huge single mound of grain. Braced internal timber bulkheads on either side took the lateral thrust of the wheat, and conveyors at ground level outside the bulkheads took wheat back to the elevator for transport elsewhere. Wheat had been handled in jute bags from the start of the Victorian wheat industry in the mid nineteenth century. Bulk storage had been developed in North America from the early 1900s. NSW began building substantial concrete silos from 1920-21. In Western Australia, farmers' co-operatives, who had to supply their own bulk storage from 1934-5, pioneered the use of low-cost horizontal sheds of timber and corrugated iron for bulk storage. Following its establishment in 1935 the Victorian Grain Elevators Board (GEB) planned a network of 160 concrete silos in country locations, connected by rail to the shipping terminal at Geelong. By the outbreak of the Second World War there was a worldwide glut of wheat, and Australia soon had a massive surplus which it was unable to export. Only 48 silos had been established under the Victorian Silo Scheme so far, and wartime material and labour restrictions prevented progress with this scheme. The storage deficit had become an emergency by 1941 as Britain obtained its imports from North America, rather than over the lengthy and difficult shipping route from Australia. In 1941 the GEB, under chairman and general manager Harold Glowrey, proposed large temporary versions of the horizontal bulk storage sheds already in use in Western Australia. The proposal was approved by the Victorian Wheat and Woolgrowers Association, who considered the use of shed storages as a longer term proposition. After initial resistance from the Australian Wheat Board, some of whose members represented wheat bagging interests, the Commonwealth and Victorian governments agreed to split the costs, and Murtoa was chosen as a suitable site for the first emergency storage. The main contractor, Green Bros, commenced work on the No.1 Murtoa Shed in September 1941, deliveries of bulk wheat began in January 1942, and the store was full by June of the same year. In the following years the Council for Scientific and Industrial Research (later CSIRO) conducted valuable research and experiment on the impacts and control of insect pests at the Murtoa No.1 shed. With these discoveries, and the development of more effective pesticides, use of the No.1 shed and the larger No.2 shed, erected in 1942/43, continued for many years. The No.2 shed was demolished in 1975. By the 1990s, pest resistance to pesticides and requirements for both pest free and insecticide free grain rendered open storage of this type unviable. The No. 1 store was also becoming increasingly expensive to maintain, and its use was phased out from 1989.Image of the Marmalake/Murtoa Grain Store which is of historical, architectural, scientific (technical) and social significance to the State of VictoriaDigital colour image of the interior of the Marmaduke . Murtoa grain storage facility better known as the Stick Shed. The shed was constructed in World War Two to store grain. The supporting columns are trees.marmalake, murtoa grain store, wheat store, stick shed, murtoa

This rug was a gift and gesture of friendship from the local Muslim community to the City of Greater Bendigo. It was presented to Mayor, Cr Rod Fyffe on behalf of the people of Bendigo at a 2016 'Thank You Bendigo' dinner. In 2014 approval for a planning application from the Bendigo Islamic Association to build a community centre and mosque in East Bendigo prompted a series of public protests that captured widespread media attention. During this tumultuous period the Council identified the need for a community-wide plan to promote diversity and help address potentially divisive cultural issues. These events led to the COGB becoming the first local government area (LGA) formally accredited under Australia’s Welcoming Cities Standard. Community leaders emerged who wanted to show that the anti-mosque protesters did not reflect the views of the majority of Bendigo residents. The community lead ‘Believe in Bendigo’ movement gained momentum, and the Council and other local organisations joined forces to present a unified message that Bendigo residents do not tolerate racism. Muslims have made Central Victoria their home since the Goldrush, contributing to the community and the economy for the past 120 years. Traditional Islamic rugs, especially their patterns and motifs are intrinsically linked with the design of the Bendigo Mosque and Bendigo Islamic Community Centre providing important points of reference for the architects of the project. Typically, mosques are linked with specific cultural groups but not in the case of Bendigo where the Muslim community is made up of multi-ethnic groups. This meant the building's design was not fixed to a specific style or cultural iconography but instead needed to encompass many. The small local Muslim community selected a specific Australian architect because of their interest and knowledge of Islamic design and iconography gained through family collection of Islamic textiles. In thinking about the design of the mosque and community centre the architects wanted to acknowledge the role of Afghans in Australian history, especially tribal Afghans who helped build connections across the interior of Australia between First Nations communities, European settlers and Central Asian migrants. The gift of this Turkmen rugto the Bendigo community thus symbolises collaborative partnerships across faith and cultural groups based on friendship and mutual benefit. A Turkman rug was specifically chosen as it is the pinnacle of nomadic arts of the Islamic world. It was also important to the architects and the local Muslim community that the gift was a female artistic product as it was mainly a female Muslim architecture team that designed the mosque in Bendigo and there was a desire to select something that celebrated female artistry. This hand-woven rug is an engsi, made for a woman in preparation for marriage. Design work and weaving is a shared experience, between many generations of women and each rug hold the personal story of the woman it is made for and her family and thus holds deep symbolic meaning. There are often songs and poetry that are recited as the rug is made – helping the makers to memorisze the mathematical structure of the design. An engsi is put on the doorway to a yurt as part of a wedding ceremony. During the ceremony the groom turns the engsii upside down to check the quality of the rug makers weaving skills. The nomadic lifestyle of Yomut Turkman tribes determines the size of the rug as the loom can’t be carried. Its size is also restricted by the dimensions of the doorway of the yurt. This rug is dated as c 1880 because of the types of patterns used, the use of natural dyes (synthetic dyes were introduced to the area in 1890s) and with the smoother weaving on the back indicating the quality of craftsmanship dating to this time period. The Yomut engsi rug was made in Turkmenistan c1880 by Yomut Turkmen Tribes people and is designed to fit over the doorway of a yurt during a wedding ceremony. The main field motif is related to Turkoman jewelery design. The women and girls of the tribe spin the wool and design and weave the rugs. The men shear the sheep, dye the wool and clip the rug after it has been woven. The word “Turkoman” is thought to have been derived from Turk-iman, meaning the first nomadic Turkic tribes that began to follow Islam. Dyes used are natural including orange from madder root. bendigo mosque, bendigo islamic association, city of greater bendigo community partnerships, city of greater bendigo community groups

Lid for ship's tanks used for early domestic water storage (1860's) at the lightstation The water tank and lid are probably from the same unit that was used for transporting drinking water or perishable dry goods on ships. The unit comprised a large, riveted metal tank which was fitted with a heavy cast iron round lid to form a hermetically sealed container. It had a rubber sealing ring ‘which was screwed tight with the aid of lugs cast into the lid and wedges cast into the rim of the loading hole’. A raised iron rod welded across the outer face of many lids allowed for screwing the lid tight. Ship tanks were invented in1808 by notable engineer, Richard Trevithick and his associate John Dickinson. Their patent obtained the same year described the tank’s superior cubic shape that allowed it to fit squarely as a container in ships and thus use space efficiently, while its metal fabric preserved and secured its contents, whether liquid or solid, from damage. The containers revolutionised the movement of goods by ship and made wooden casks redundant. Research by Michael Pearson has determined that they were carried on passages to Australia from at least the 1830s, conveying ships’ victuals and water storage as well as general goods heading for the colonies, and by the 1870s they were in common use. Once in the colonies, the tanks were often recycled and adapted for many resourceful uses such as water tanks, packing cases, dog kennels, oil containers and food stores and this invariably led to the separation of the lid and tank. Raised lettering on the lids indicates that nearly all of the ship tanks transported to Australia came from London manufacturers, and it was usual also for the brand name to feature as a stencil on the associated square tank but in most cases this eventually wore off. It is not known if the Wilsons Promontory tank retains its stencil, and the heavy lid will need to be turned over to reveal its manufacturer’s name. How it came to the lightstation is also not known, but it was either brought to the site as a recycled tank or salvaged from a shipwreck. Pearson writes that Ship tanks show up at a wide range of sites, many of them isolated like lighthouses. They were, I think, usually taken there for the purposes they filled, usually water storage, as they were readily available, relatively light to transport, and probably very cheap to buy as second‐hand goods containers. In rural areas they may have been scavenged for their new uses from local stores, to whom goods were delivered in them. Recycled to serve as a water tank, the Wilsons Promontory tank is the last surviving example of several that were used at the site to hold water for domestic consumption. The tank has had its lid removed and a tap fitted to the one of the sides. It stands on concrete blocks next to a building to receive water running off the roof via a metal pipe. Wilsons Promontory is the only lightstation managed by Parks Victoria with a tank container, although Cape Otway and Point Hicks have lids. Parks Victoria has identified four other lids which include two at Point Hicks, one manufactured by Lancaster and Co. the other by Bellamy. Cape Otway also has two, one unidentified and the other by the Bow Tank Works, East London, which produced tanks between 1910 and 1930. Pearson notes that ‘surviving lids are far less numerous than the tanks themselves, presumably because the uses to which the tanks were put did not require the lid to be retained’. The tank and lid, which are possibly part of the same unit, have first level contributory significance for their historic values and rarity. Round ship's tanks lid, iron.