Five 'Popular Radio Weekly Magazines. .1) Vol. 1, No. 1, 25 February 1925. (Purchasing a receiver, eliminating static, Morse Code, An Efficient one-valver, A Simple Crystal Circuit, Combining Valve and Crystle, the Alfred Hospital, Frank Tate on Radio. Images of Josie Melville, Alberto Zelmanm circuits) .2) Vo. 1, No. 14, 27 May 1925. (Purity amplifier, Popular Wireless, Oscillations, Marconi's Wireless Beam Transmitter, Resistance coupled Amplifiers, Condenser Losses) .3) Vol. 1, No. 2, 04 March 1925. (A Crystal Receiver, Medium Wave Four-Valver, The Harkness Circuit, A One-Valve Super, The Aerial Mast, The Police Patrol, C Batteries, A Two Crysal set, La Bela Lingvo, Plain Aerial. Images - Transmitting Aeroplace, A. Nicholson - Chief Commissioner of Police) .4) Vol. 1, No 15, 03 June 1925. (The Ham and Radiophone, A Good Circuit, How the Microphone Transmitter Works, A Reflex Circuit, A Millionaire's Radio Installation, Teh Deresnadyne, Crystal Detectors, Hints an Accumulators, 3LO, Selection Radio Parts) .5) Vol 1, No. 6, 01 April 1925. (The Renartz Tuner, A 600 foot aerial, Measuring your Receiver, Doctoring Your Set, Understanding What You Read, The Vernier Condenser, Radio and Railways, Who Can Build the Smallest Set.)radio, valve, electrical engineering, frank tate, alberto zelman

Sepia image (copy) picture shows family gathered at base of large tree trunk with door opening. Two small children in doorway, woman holding younger child inside tree, two men either side of image. Both men are wearing suit coats, vests and wearing hats. Straw broom and pots fixed to tree trunk. Man on RH side has an axe to his right. PLEASE NOTE: Letter with photo inquiring about the people in photo, states that the image is that of Peter Tyson, younger brother of James, his wife Margaret Sheil, and their twin daughters, Alice and Harriet. Diary is of accounts with limited text of a written diary on RH wide of sheets. Bookkeeper was Robert Primrose, whose name appears frequently in the book. Further research by Murray Poustie discovered that the photograph may actually be of Nicholas Penny, his wife Eva and their children Charlie, May, George and Nicholas. Also in the photograph on the left is their neighbour, Mr. John Green. The Photograph was taken by Max Lowenhardt when the Penny family was living in the tree at Fumina in 1906-07 following devastating bushfires. Fumina is in timber country at the foot of the Baw Baw Mountains and the area was frequently affected by major bushfires. The photograph was featured on the cover of the Gippsland Heritage Journal No.19, 1996 and is also extensively noted as ''The Penny family's tree home at Fumina'' in other publications including Vision & Realisation.person, receipts

This baker’s wagon (or cart) was used to transport and deliver bread and other baked goods in the Warrnambool area. It is currently decorated with signwriting advertising H.H. Smith, Baker who owned and operated his Warrnambool bakery in the late 19th and early 20th century. The design of this baker’s wagon is similar to others dating around the 1930’s and 1940’s and was likely to have been built around that time for Stephenson’s Bakery in Warrnambool. The wagon’s original internal shelves were removed due to it being used in the early days at Flagstaff Hill to give children rides around the Village. BAKERS’ HISTORY There were many bakeries in Warrnambool in the 19th to mid-20th century. Each bread bakery made bread deliveries by horse and wagon in their appointed delivery zone. This wagon has sign writing representing Smith’s bakery although it is most likely the delivery wagon of Stephenson’s bakery. SMITH’S BAKERY – as shown on the wagon’s signage Henry Huntington Smith (1857-1941) was born and educated in Warrnambool. He worked at Davis’ steam biscuit factory in Timor Street before he started his own bakery business in 1885 at a premises near the corner of Fairy and Koroit Streets. A few years later Smith built his new bakery on the corner of Fairy and Lava Street where it still stands today as Monaghan’s Pharmacy. The building was designed by James McLeod in 1892 as a bakehouse, shop and residence for Smith The address was known locally as Smith’s corner. Next door to the bakery, at 136 Fairy Street, were Stables built by Jobbins and McLeod in 1886 for William Cust. A photograph in the archives of the Warrnambool and District Historical Society shows the 1892 building with four fancy horse-drawn wagons on the street with white clad drivers and a promotional stand erected with 5 bakers in uniform and the signage “H H Smith & Co, Pastry Cooks and Confectioners”. One of the wagons appears to have “H H Smith” painted on the side. H.H. Smith & Co. placed an Advertisement in the Weekly Times in December 1896 promoting its business as bakers, confectioners and pastry cooks, praising their shop as an ‘ornament to the town’ with ‘neat appointments’ and ‘dainty decorations’. It also boasted that the business supplied a large number of customers within a twelve mile radius of Warrnambool. In November 1919 The Warrnambool Standard announced the marriage of Henry H Smith, Mayor of Warrnambool, to Jeannie Samson-Goodman in East Adelaide. In the same newspaper was a notice that Frank Crossley was to open as baker and pastry cook in H.H. Smith’s premises. As well as being the proprietor of the H.H. Smith Bakery, Henry Huntington Smith was a Councillor for the Warrnambool Municipality from 1913 – 1937 and Mayer for two terms. In December 1919 during his first term as Mayor he was honoured for the work he had done with returning soldiers after World War I, receiving a document in recognition of this work, presented by the Mothers, Wives and Sisters of returned soldiers. Smith was very interested and involved in the community in many roles, including being the Vice President of the first Warrnambool and District Historical Society. STEPHENSON’S BAKERY – believed to be the past owner of the wagon The last owner of the bakery was Harold Stephenson. Stephenson was enlisted in the A.I.F. and was invalided home in 1943 before the end of the Second World War. He also served as a Councillor 1958-1976, during which time he served six terms as Mayor for the City of Warrnambool (1966-1973) while he had the bakery. He was very involved in many local organisations including the Warrnambool Surf Life Saving Club and the Road Race Committee. He died in 1985, lauded as being one of Warrnambool’s “most distinguished civic leaders”. It has been said that the baker injured in World War II invented a special contraption to enable him to get up into the wagon and that he alerted his customers that he was in their vicinity by blowing a whistle. The customers would come out and choose their own bread from the back of his wagon then pay him for it. However another account is given by a man who once earned pocket money by helping the baker on his rounds. He says that it was Stephenson, the owner and manager of the bakery, and not the delivery baker who received a significant injury during the war, making him unable to climb the stairs of his upstairs accommodation at the bakery, therefore causing him to sleep downstairs. At this time in the early to late 1940’s Stephenson’s bakery had three wagons, one for each of the delivery rounds. The wagons were painted black and yellow. Two of the drivers were Stan Lake and Ali (Alec) Dean who both had wagons with the covered cabin design. The third driver was Bill Lake who had a flat wagon. Stan Lake delivered in the area around Lava and Koroit Streets, Ali Dean had another round and Bill Lake had the Dennington area. Bread continued to be delivered into the 1960’s but by this time the delivery vehicles were motorised. The goods produced at Stephenson’s bakery included breads baked in different shaped tins such as High Tin, Sandwich and Vienna. Some shapes were easily divided into half by breaking them apart, therefore the baker could make two quarter loaves from a half loaf, satisfying different needs. There was the option of white or brown bread, sweet buns, fruit buns and Boston buns. The baker’s assistant was known to take great delight in ‘trimming’ the broken halves of excess bread and crust, enjoying his treat. THE BAKERY PREMISES – South east corner of Fairy and Lava Streets, Warrnambool The building retains the original cast iron veranda. Above the veranda a motif of a wheat sheaf in ornamental plaster can be seen. Inside the building there are still has some of the original fittings. The building was classified by the National Trust in August 1979. After the Second World War an official system of zoning was introduced as a fair way for the baking industry to operate. In 1949 different pricing was introduced by the Government for either delivered or retail purchased bread. Many of the small local bakeries went out of business after the Government banned zoning. The way was made open for the larger bread manufacturers to enter the local market with cheaper prices. Some of those companies were Mc Queens, Tip Top, Twisties, Sunicrust, (Mc Queens ‘new’ bakery building was where the current Toyworld shop now stands, is, in the Ozone carpark.) O’Grady’s Bakery, later changing hands and known as Burkes Bakery, was in Fairy Street near Timor Street intersection, on the North West side. There was also a bakery named Almay. The baker’s wagon is significant because of its association with H.H. Smith’s Bakery in Warrnambool.. The H.H. Smith’s Bakery building on the corner of Fairy and Lava Streets, built in 1892, is classified by the National Trust, August 1979. Smith Street Warrnambool was named after Henry Huntington Smith, who was a Warrnambool Councillor 1913 – 1937 and Mayor 1919 – 1921. Baker’s wagon, often referred to as a baker’s cart. Four wheeled horse-drawn delivery wagon, front wheels smaller than rear wheels. Wagon is clad with metal sheets and lined with varnished timber panels. Wheels have metal rims, wooden spokes and rear wheels have wooden brake pads. Horse shaft is timber with metal fittings. Front has a metal lamp holder, brake lever, metal hand grips and decorative metal foot plates. The wagon has suspension leaves on back and sides and double suspension leaves on the front. Driver’s area at front has a roof, glass side windows and wooden box seat with hinged compartment accessing wagon storage area. Door above back of seat has buckled leather handgrip strap attached, door slides open for access to wagon area. Back of wagon has a wooden step and a split door; top door has ventilation louvers, both doors have metal latches. Wagon is painted cream with brown trim and signage and green step. Remnants of red and green paint are visible; underside of seat panel is painted grey. Wagon advertises H.H. Smith & Co. Baker, a Warrnambool business established in 1885, but is of a more modern design seen around 1930’s and 1940’s and most likely belonging to Stephenson's bakery. Brown signwriting on sides of wagon “H.R. SMITH & CO. / BAKER” Brown signwriting across front of wagon “BAKER” warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, baker’s wagon, h.h. smith baker, warrnambool, henry h smith, jeannie samson-goodman, frank crossley, mayor of city of warrnambool, vice president of warrnambool and district historical society, stephenson’s bakery warrnambool, harold stephenson, warrnambool surf life saving club, road race committee, national trust building, stan lake, bill lake, ali dean, 19th and 20th century bakers, davies steam biscuit factory warrnambool, james mcleod building designer, jobbins and mcleod, william cust, h h smith & co, pastry cooks and confectioners, bakery trade, bread delivery wagon

Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen silver photograph mounted on boardprinted in ink on support l.c.: GIANT FERN TREES: SPLITTERS' TRACK, BLACK SPUR. / COPYRIGHT REGISTERED. printed in ink (vertically) on support reverse u.c.l.: J.W. FORBES, Agent, printed in ink (vertically) on support reverse c.l.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink (vertically) on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 8. / GIANT FERN TREES: SPLITTERS' TRACK, BLACK SPUR. / The scene which this illustration represents is situated on Morley's Creek, at the foot of the Black Spur, and is / about a mile and a half from the Township of Fernshawe. The Fern Trees in this locality are of gigantic growth, / measuring 50 feet in height, the fronds of which are from 12 to 15 feet long. This excessive growth is attributable / to the great number of springs flowing into the creek, thereby causing the surrounding soil to be in a continual / state of moisture. printed in ink (vertically) on support reverse l.c.l.: 10 Temple Court, Collins Street West.landscape photography, nicholas caire, black spur - victoria

A Legacy ceremony at the Shrine of Remembrance. One of the annual "Anzac Commemoration Ceremony for Students" events, usually held just prior to ANZAC Day. This was taken in 1982. The ceremony provides a valuable opportunity for students to gain an appreciation of the Anzac spirit, the significance of the Shrine and the meaning of Anzac Day. It is a photo of two school children laying a wreath at the Cenotaph. They are named as two Junior Legatees, Peter Manning and either Bridget Riggs or Gayle Goulding (the two labels are contradictory). It is possible one of the labels belong to another photo (item 01200) as they were found in the same envelope and it appears to be the same boy in both photos. However both labels were attached to this photo. Item was in an envelope with other photos and programmes from different School Student ceremonies. Labelled S15 in red pen it was part of an old archive numbering system, that showed there has been efforts in the past to collect, order and save items of Legacy's history.A record of a ceremony for school students at the Shrine.Black and white photo of an Anzac Commemoration Ceremony for students at the Shrine in 1982 with two junior Legatees at the Cenotaph (World War II memorial). Two paper labels typed in black ink.Photo is stamped with Copyright of Herald and Weekly Times in green ink. Handwritten 'Peter Manning and Bridget Riggs' in purple texta. '820423/120' in blue pen. Label says: 'At Melbourne Legacy's Annual School Children's Anzac Commemoration this year Junior legatees, Gayle Goulding and Peter Manning representing all Junior Legatees, laid a wreath at the foot of the World War Two Memorial.' Other label says: Junior Legatees Peter Manning and Bridget Riggs observe a minutes silence after laying a wreath near the Eternal Flame at the Shrine of Remembrance. They were among 1100 children from 54 schools who attended Melbourne Legacy's 51st Annual school children's Anzac Commemoration Ceremony at the Shrine. Photo courtesy Sun News-Pictorial.' The photo was also used as a Highlights page in an Annual Report. The caption confirmed the names as Peter Manning and Bridget Riggs.anzac commemoration for students, wreath laying ceremony

A Carte de Visite (hereafter CdV) (also known as a calling card) was popular within the mid-19th Century. It is a small card with a photographic portrait mounted on it. These cards were exchanged during the Victorian era (peaking in the 1860s) between families and friends. This particular CdV was captured by James Bray in c.1870. Bray who worked as a professional photographer in Camp Street Beechworth from 1870-1891. He was one of four men who photographed the Kelly Gang after the siege in Glenrowan in 1880. He is also renowned for his previous work photographing members of the Kelly gang. Depicted in this photograph is Isaiah “Wild” Wright. Wright was born in approximately 1846 in County Monaghan, Ireland. At age 11, Wright arrived with his father John Wright, mother Margaret and younger siblings in Victoria on the 9th of July 1857. They sailed on the ship ‘Carleton’ which left from Liverpool in England. Wright was stood 5 foot 11 inches tall and had brown hair with hazel eyes. He had a scar on the inside corner of his left eyebrow, a large scar on his right cheek and a scar on the back of his head. Over the years in Australia, Wright was sentenced on numerous (particularly of horse theft) charges and spent time in Pentridge, Hulk Sacramento and Hulk Sandridge. Wright married Bridget Lloyd in 1973. Through this marriage he was connected to the Kelly family as Bridget’s mother was one of Ellen Kelly’s (Ellen was the mother of Edward “Ned” Kelly) sisters. Wright is famous for his participation in the horse stealing incident of 1871 and subsequent bare knuckle fight against Ned Kelly that occurred in 1874. In 1878, Bridget and Isaiah Wright became parents to John "Jack" Thomas Wright. Jack Wright was an Australian rules footballer who played for Geelong in the Victorian Football League 1902-1906. Wright passed away on the 29th of May 1911.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Individuals like Isaiah “Wild” Wright played an essential part in the Kelly story which have been enlarged and adapted for popular culture. The study of these individuals thorugh their images and records can help researchers to correctly interpret their involvement with Ned Kelly and the Kelly gang. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Beechworth photographer James Bray who is responsible for many images depicting members of the Kelly Gang. Sepia oval CDV printed on Card. Obverse: J.E. Bray/ Photo Reverse: 10238 Portrait & Landscape/ Photographer J E Bray Signature Beechworth/ Victoria/ Negatives Kept. Copies 5I/. Each May/ Be Had By Forwarding Name And Address/ Accompanied With Remittance To/ The Amount Of Order/ Photographs Coloured In Watercolourskelly album, kelly gang, beechworth, wild wright, boxing, burke museum, imperial hotel, bare-knuckle boxing, isaiah wright, ned kelly, isaiah wild wright, horse theft, hulk sacramento, calling card, pentridge, james bray, cdv, carte de visite

The basic balance scale has been around for thousands of years and its accuracy has improved dramatically over the last several centuries, the principle behind this tool remains unchanged. Its parts include a fulcrum, a beam that balances on it, a pan at the end of the beam to hold the materials to be weighed, and a flat platform at the other for the counter-balancing weights. Balance scales that require equal weights on each side of the fulcrum have been used by everyone from apothecaries and assayers to jewellers and postal workers. Known as an unequal arm balance scale, this variety builds the counterweight into the device. Counter scales used in dry-goods stores and domestic kitchens often featured Japanned or (blackened) cast iron with bronze trims. Made by companies such as Howe and Fairbanks, the footed tin pans of these scales were often oblong, some encircled at one end so bulk items could be easily poured into a bag. Seamless pans were typically stamped from brass and given style names like Snuff (the smallest) and Birmingham (the largest). Some counter scales were designed for measuring spices, others for weighing slices of cake. In the 18th century, spring scales began to appear and would use the resistance of spring to calculate weights, which are read automatically on the scale’s face. The ease of use of spring scales over balance scales. One of the most common types of spring scales was the kitchen scale also known as a family or dial scale. Designed for horizontal surfaces, these vintage kitchen scales used the weight of goods in a pan at the top of the scale to force the spring down rather than the balance system. Such scales were common in early 20th century households and were sold by many companies. Many had flat weighing surfaces but some were topped by shallow pans. Companies such as Salters, Chatillon, and Fairbanks were the most popular brands used. These scales are significant as they identify one of the basic preparation items for the weighing of foodstuff in the family kitchen to prepare everyday meals. This item is significant as it gives a snapshot into domestic life within the average home in Australia around the turn of the twentieth century and is, therefore, an item with social relevance. Black cast iron, medium weighing scales, with a fulcrum which the beam that balances on, there is as scoop at one end for the material to be weighted and a flat circular disc at the other end that holds the weights. Around the cast iron base is an embossed leaf pattern. All the weights have their weight embossed within the casting.There are 5 weights, marked 2 oz, 4 oz,8 oz,1 lb,2 lb, This scale does not have any visual markings on the arms to identify a maker or true balance. It is therefore assumed that these scales were made for domestic use only.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, spring scale, scale

The Pavillion was an extension to the Eltham Living and Learning Centre which was opened 8 October, 1994 In 1857, tanner John Pearson purchased three and a half acres of land in Little Eltham, at the western end of Pitt Street, with a 70-foot frontage to Maria Street (Main Road) and stretching down to the Diamond Creek for £100. He contracted Benjamin Oliver Wallis to build house for him. Wallis, a mason by trade who originated from the Cornish village of Newlyn, migrated to Melbourne in 1853 and was shortly engaged by Richard Warren to build the Eltham Hotel, which opened in 1854. When Warren fell into financial difficulty in 1858, Wallis purchased the hotel. That same year, Pearson constructed a tannery below the house with access to the water in the Diamond Creek. When Pearson became bankrupt in 1867, Wallis similarly acquired the house from Pearson’s creditors in 1868 and lived there until his death in 1896. For some of this time the house was in the name of Wallis’s son Richard but following his death in 1888, ownership reverted to his father. It was purchased by retired teacher Richard Gilsenen in 1899. Gilsenen was made acting head teacher at the Eltham State School in 1906 following the sudden death of head teacher John Brown. In the 1950s the house was bought by retired engineer Dr Alfred Fitzpatrick and his wife Claire who made various modifications to house goats and poultry as well as structural modifications to the house. In the early 1970s, Eltham Shire Councillors Frank Maas and Don Maling proposed an extended communities’ activities program be set up and the Commonwealth Grants Commission was approached for financial assistance. In 1974 a $50,000 Commonwealth Grant was received by the Shire Council to acquire the Fitzpatrick property as part of the planning to establish an extended communities’ activities program. The Fitzpatricks moved next door and Claire taught at the new Living and Learning Centre, which began in 1975, one of the first community education centres in Victoria.jim connor collection, eltham, eltham living and learning centre, living and learning centre, pavilion

This Flying Angel lamp bracket was recovered from the wreck site of the steam sailing ship, "Loch Ard", which sank near Port Campbell, Victoria in 1878. It formed part of the ship's cargo. The 'flying angel' lamp was, for a time, displayed in the St Nicholas Seamen's Church at Flagstaff Hill. The design was very appropriate to the Missions to Seamen, being associated with the emblem of the 'flying angel' on the Missions' to Seamen's flag. Brief history of the Loch Ard: The vessel Loch Ard was constructed on the Clyde River in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. A century later, despite the pounding seas and the efforts of looters, the wreck site continued to provide ample evidence of the extraordinary range of goods being imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” The lamp bracket is significant for its connection with the wreck of the sailing ship, Loch Ard, in 1878. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Gas lamp, brass, single burner, wall-mounting bracket, delicately crafted. Ornate decoration features bust of an angel with up-swept wings, or 'flying angel'. Recovered from the wreck of the Loch Ard.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, 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, lamp fitting, shipwreck artifact, 1878, shipwreck cargo, household effects, 19th century lighting, angel lamp, loch ard lamp, angelic lamp, lighting at sea, marine technology, ship's lighting, flying angel, gas lamp, maritime archaeology, port campbell

The artefact is a brass cow bell recovered from the 1878 shipwreck of the LOCH ARD near Port Campbell. It was raised by Flagstaff Hill divers in 1973 and is in storage at the Maritime Village. A cow bell is a bell worn around the neck of free-roaming livestock so herders can keep track of an animal via the sound of the bell when the animal is grazing out of view in hilly landscapes. Although they are typically referred to as "cow bells" due to their extensive use with cattle, the bells are used on a wide variety of animals. The earliest examples of truly recognizable cow bells date back to the Iron Age. The use of iron bells in sub-Saharan African music and the Niger–Congo area is linked to the early iron-making technology spread during the Bantu migrations. The earliest archaeological evidence of bells dates back to more than 5000 years ago, from the 3rd millennium BC in Neolithic China. During this era, there is evidence of early forms of pottery cow bells, which were likely used to keep track of goats, sheep, and cattle. These pottery bells were later replaced by metal bells using brass and other materials. The LOCH ARD was constructed on the Clyde in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. (See References or Notes below for further details.)The cow bell is believed to be part of the cargo of the Loch Ard and this shipwreck of the Loch Ard is of historical significance for Victoria. Registered on the Victorian Heritage Register ( S 417), with Flagstaff Hill having a varied collection of artefacts from the Loch Ard. 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. Brass cow bell, covered in encrustations. flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, great ocean road, shipwreck artefact, loch ard, mutton bird island, glenample, eva carmichael, tom pearce, flagstaff hill divers, cow bell, horse bell, bell smith, vintage bell, farmer, shepherd, drover, stock bell, brass bell

Possibly ex Victorian Railways Newport workshops Supplied by Bevan & Edwards Machinery Merchants, Melbourne Sebastian Lathes Described by its makers as the Utility School, Garage and Repair-shop Lathe, the machine immediately below, a Sebastian 15" (circa 1910 - 1926) was the Company's cheapest offering and, in its basic form, lacked a compound slide rest, the tailstock did not set over for taper turning and the bed lacked a gap. However, a friction-type countershaft unit was included in the price as well as a tool post, faceplate, drive plate, changewheels for screwcutting and a small tool kit. As with modern cars (especially BMW) everything worthwhile was on the options' list and by spending more it was possible to specify all those small but important extras. Although in its lowest-cost form this model was reduced to the fundamentals required for a useable, screwcutting centre (engine) lathe it was still reasonably specified and would certainly have fulfilled many requirements when installed in a school or training workshop. The true swing was 15.25", it was properly backgeared and screwcutting was through a conventional tumble-reverse mechanism that allowed both left and right-hand powered movement to the carriage by altering the position of just one lever. As standard it accepted 40" between centres, but any capacity could be ordered, in foot intervals, up to a maximum of 88" - when it is hoped that a central bed support might have been included …… The spindle, which ran in white-metal bearings, had a useful 15/8" hole and a No. 3 Morse taper centre. Some models appear to have had the leadscrew clasp-nut lever on the right-hand side of the apron, while on others it was positioned to the left.. Early Sebastian 13-inch lathe Typical of the Centre or "Engine" lathe made by many manufacturers from the late 1800s until the late 1930s, the basic flat-belt drive Sebastian, with separate countershaft, was eventually relegated to the economy end of the Company's range by the introduction of geared headstocks and self-contained motor-drive systems.Historic - Industrial Machinery - Gap Bed Lathe - Possibly ex Victorian Railways Newport workshops - Purchased and supplied from Bevan & Edwards Gap Bed Lathe - Grey with raw steel parts and a timber cupboard with gears and tools. Bevan & Edwards PTY,LTD Machinery Merchants Melbourne (possible government tag) 365bevan & edwards pty,ltd machinery merchants melbourne, puffing billy

Zeehan & North East Dundas Tramway Bogie 1896 The North East Dundas Tramway (NEDT) was a 2 ft (610 mm) narrow gauge tramway on West Coast Tasmania that ran between Zeehan and Deep Lead (now Williamsford). It was part of Tasmanian Government Railways. The line was opened in 1896 to carry ore from the Williamsford mines to Zeehan where it would be loaded onto another train for shipment to Burnie. The narrow-gauge (2 ft) was chosen because of the extremely difficult terrain that the railway crossed, requiring several big trestle bridges, including one at the foot of Montezuma Falls. After some rain the engine and carriages would get soaked by spray from the falls. There was a break-of-gauge with the mainline 1,067 mm (3 ft 6 in) system at Zeehan. The railway was closed in 1932. The rolling stock for the Tramway was built in the Launceston Railway workshops, and comprised twenty five eight-wheel low-side trucks, tare 3 tons 1 cwt. 1 qr., load 10 tons; six eight-wheel flat trucks, tare 2 tons 18 cwt. 1 qr., load 10 tons; two four-wheel bolster trucks, for carrying long timber, tare 1 ton 19 cwt., load 5 tons; and four passenger cars, each with six cross-seats with reversible backs, to carry eighteen passengers, also a locker for mails and parcels. All trucks and cars have cast-steel wheels 21 inches in diameter and are fitted with automatic vacuum brakes. The trucks have side levers and the cars have hand-screw brakes. The vacuum brake can be worked from the engine or from the passenger cars, which act as brake vans. When this brake was introduced, one effect was to accelerate the journey speed by about 10 minutes owing to more even running on down gradients. Historic - Industrial Narrow Gauge railway - Bogie used on the Zeehan & North East Dundas Tramway, Tasmania, Australia Bogie made from steel, iron and wrought ironZN & NTDS ML TRAM 1896 Griffinpuffing billy, bogie, zeehan & north east dundas tramway bogie, zeehan & north east dundas tramway, industrial narrow gauge railway, gauge: 2' (610 mm)

0-6-2 Tank Locomotive No.1 "Delta" Gauge 2'0" Identification: 1 Delta Type: 0-6-2T Builder: Perry Engineering, Mile End, South Australia Builder's number: Perry 7967.50.4 of 1950 Building date: 1950 Current status - Static Exhibit Wheel Arrangement 0-6-2T Cylinders (Diameter X Stroke) 10 inches X 18 inches Boiler Pressure 180 psi Driving Wheel (Dia.) 28 ½ inches Weight 16 tons Coal Capacity 27 cubic feet Water Capacity 500 gallons The Perry Engineering Co, Mile End, South Australia built a total of 18 locomotives for the 2’0” gauge tramways used by the sugar industry in Queensland. This 0-6-2T locomotive was built by Perry Engineering Co. Ltd. of Mile End, Adelaide as their Builder's No. 7967.50.4 of 1950. It was used at Qanaba Mill, Bundaberg where it was known as No.1 "Delta". / Qanaba Mill No.1 No. 1 “DELTA” 0-6-2 TANK LOCOMOTIVE Gauge: 2 foot Built by Perry Engineering Company of South Australia in 1950 (Builder’s number 7967.50.4), “DELTA” is a medium sized Australian designed locomotive featuring Walschaert’s valve gear driving piston valves. Weighing 16 tons (16.3 tonnes) it was one of the post-war narrow gauge steam locomotives, which worked in the canefields of Queensland until 1978. “DELTA” worked at various sugar mills in the Bundaberg area and was finally withdrawn from service at Quanba Mill after a life of 28 years. Obtained by the Puffing Billy Preservation Society in 1981. Delivered to Australian Estates Co., Kalamia Mill named DELTA in 1950. Purchased by Fairymead Mill as No 20 DELTA. Purchased by Millaquin Sugar for Qanaba Mill as No. 1 DELTA, 1970 Withdrawn from service, 1978. Obtained by Puffing Billy Preservation Society for display at the Puffing Billy Museum.Historic - Industrial Narrow Gauge Railway - Steam Locomotive used in Queensland in Sugar Mill service. Locomotive No.1 "Delta" - Steam Locomotive - made of steel, and wrought ironDelta0-6-2 tank locomotive no.1 "delta" perry engineering - puffing billy railway perry 7967.50.4 of 1950, puffing billy, qunaba sugar mill, bundaberg, perry engineering, delta, steam locomotive, 0-6-2 tank locomotive no.1

This 2 foot 6 inch (762mm) gauge wagon was used for carrying explosives and was used with the Greenbat Battery loco. It was donated to the Walhalla Goldfields Railway on long term loan in 2013 along with a large quantity of narrow gauge trollies and light rail from Orica’s now closed munitions factory in Melbourne’s western suburbs. Orica - Deer Park Munitions factory Orica Deer Park in Melbourne’s west has been used since circa 1875 for various forms of manufacturing and storage of chemicals. Although the site is bounded by Ballarat Road, Station Street, Tilburn Road and the Western Ring Road, the current entry point for industrial operations is situated at Gate 6 of Tilburn Road. Operations include: • a specialty chemicals facility producing products for mining services operations • quarry services • other chemical manufacture activities. The Deer Park factory complex The factory complex is of historical significance for the major role it played in Australia's manufacturing and mining industries through the development of progressively more efficient and safer explosives. It also contributed to wartime production in ammunition, initiators and the development of synthetic ammonia production and construction of the Defence Explosives Annexe No 5 (later the Albion Explosives Factory) during World War Two. The factory complex is also of technical significance for the unusual and specialised design of many of the buildings and structures, both in the layout of the works and the individual design of buildings. Blast protection and safety measures such as mounds around the buildings, 'cleanways' and buffer zones between production areas were employed extensively. A characteristic of many production buildings was the elimination of cavities where explosive compounds could lodge. The combination of concrete barriers and light-weight construction was designed to direct explosion debris away from operators or other buildings. The narrow gauge tramway, which ran through the explosives section, is a rare survivor of nineteenth century materials-handling methods. Historic - Industrial Narrow Gauge Railway - Wagon for carrying Explosives at the Orica - Deer Park Munitions factory, Deer park, Victoria, Australia Wagon for carrying explosives made from Timber and steelwagon for carrying explosives, puffing billy, industrial narrow gauge railway, orica - deer park munitions factory, explosives wagon

Henry George Roberts was born in Lambeth, Middlesex, The United Kingdom on 17 June 1885. The son of Elizabeth and Corporal Thomas Roberts of 2/3rd Regiment of Foot, The Buffs. Thomas Robert died in 1893 and on 28 September 1894 Henry was admitted to the Royal Military School as an apprentice. He remained there until 7 July 1900 when he enlisted at Aldershot, in the 2nd Dragoon Guards as a boy soldier. The 1901 and 1911 Censuses record him as being a musician with the 2nd Dragoon Guard, (The Queen’s Bays). Roberts married Lily Winterbourne Quinton in early 1912, a son Frederic was born on 1 February 1913. By August 1914 Roberts has travelled to Australia where he was employed as a musician and residing at “Quamby” Royal Park, Melbourne. His wife and child remaining at Mellison Road, Lower Tooting, London. On 8 September 1914 he enlisted in the Australian Imperial Force in Melbourne, allotted Regimental Number 42, the Rank of Trooper and allocated to A Squadron, 8th Australian Light Horse Regiment. His enlistment papers raise a mystery. He stated that he and six years’ service with the Territorial Hampshire Carabiniers but made no mention of his eleven years’ service with the Regular 2nd Dragoon Guards. There is no clear answer as to why this misinformation was provided. Roberts was promoted to Sergeant on 28 October 1914. His occupation and prior experience resulting in Roberts’ appointment to the leadership of the regimental band. After training in Australia, he embarked on the Star of the Sea at Port Melbourne on 25 February 1915 arriving in Egypt on 14 March. On 16 May 1915 he proceeded to Gallipoli where he was killed in action on 7 August 1915 during the attack on the Nek. He has no known grave and is commemorated at the Lone Pine Memorial for the missing. For his service in The Great War, he was awarded the 1914-1915 Star, British War, and Victory, Medals. Circular metal medallion with image of Britannia standing with a lion issued to NOK of No 42 Sergeant Henry Roberts 8th Australian Light Horse Regiment who was killed in action at the Nek 7 August 1915. The plaque about 120 mm in diameter, was cast in bronze, and came to be known as the "Dead Man’s Penny", because of the similarity in appearance to the much smaller penny coin. 1,355,000 plaques were issued, which used a total of 450 tons of bronze,Henry Roberts and continued to be issued into the 1930s to commemorate people who died as a consequence of the war.Henry Robertswwi, world war one, gallipoli, nek, 8th, light horse, roberts

10570 South African (Boer) War Memorial Bendigo. The monument commemorates those who died in service or were killed in action while serving in the South African (Boer) War. It is a bronze statue of a soldier on a granite base. Leader (Melbourne), 19 November 1904. “There was a large assemblage on the afternoon of 11th November, when the ceremony of unveiling the soldiers' memorial statue was performed by Brigadier-General Gordon in the presence of a muster of branches of the defence forces. The statue, which is in bronze, is mounted on a massive granite base, on the foot of which is the following inscription: — "Bendigo's tribute to the memory of the Australian soldiers who, in the South African war of 1899 - 1902 gave their lives for Queen and Empire. The statue was modelled by Mr. J. Walker, a young Bendigonian, who has been studying for two or three years under Mr. A. T. Woodward art instructor at the local school of mines.“ Ola Cohn recalled in her autobiography meeting John Walker as a sculpture student at the Bendigo School of Mines and that he had later received the commission for the Boer War Memorial although she neglects to mention its location. John Walker was born in Bendigo and first studied sculpture at the Bendigo School of Art. Walker, then went to England to study at the Royal College of Art London, and in Paris at the Académie Colarossi and Julian Academy. John Walker worked as a sculptor in both Bendigo and West Brunswick before turning to chicken farming in the Bendigo suburb of White Hills. The photo of A. T. Pattinson was taken by George Leake Massingham, a professional photographer, who had seven children, one of whom died at birth. After arriving in Australia from England, he established himself as a travelling photographer, an occupation he continued after his marriage. He travelled throughout country Queensland, Victoria and New South Wales, setting up studios along the way. The family ended up moving with him, travelling to Sydney, Narrandera, Bendigo, Newtown, Geelong and Deniliquin. Correspondence re Boer War Memorial Bendigo Boer War Memorial Bendigo. Letters and photo from and to Mrs Wilson, eldest daughter of Mr Arthur T. Pattinson who was a model for the Boer War sculpture. 10570a A black and white photo of Trooper Arthur T. Pattinson restored by BHS Volunteers. 10570b The original photo as sent by Mrs Wilson to Harold Curnow (Bendigo Historical Society) in 1962. The photo is mounted on heavy brown cardboard and has an old catalogue number of "P680" inscribed on it. The cardboard is torn and held together with sticky tape. On the front in italics is printed G.L. Massingham, Bendigo. 10570c Notes on the rear of the photo from Mrs Wilson state that "the photo is of Arthur T. Pattinson (Rusty), an Australian Light Horse trooper who served in the Boer War. The Boer War Memorial in Pall Mall Bendigo represents a trooper on guard. The sculptor was Jack Walker who used Pattinson as a model, and it is regarded as an excellent likeness." 10570d A letter from Harold Curnow back to Mrs Wilson on Jan 4th, 1963, acknowledging receipt of the photo and a letter received, noting the significance of the historical information. 10570e Handwritten letter 29/11/1962 from Mrs Wilson to Mr Curnow introducing herself as Mr. Pattinson's eldest daughter and answering the letter he wrote to her father. She mentions the bad health of her parents. Arthur modelled for the statue at least two to three times per week in a studio on the top floor of a building in Bull St. He was the original model to the best of her knowledge. Another model possibly Mr P. Handmear may have sat as a model for renovations (*). The rifle was a light horse rifle issued to Pattinson as he was still serving in 1904. Arthur and Handmear were boys together and very close. * Note - the plaster model was repaired prior to casting in metal. 10570f An obituary notice: 18/11/64 "On Nov. 17 at Frankston, Emma, wife of the late A. T. Pattinson (Rusty), late of Bendigo. 10570g Letter Nov. 20th, 1962, from Harold Curnow to Mr Arthur T. Pattinson, Kent St., Mornington, Vic. "Dear Mr Pattinson, Last week your brother, Brit., whom I have known for many years, supplied the Bendigo Advertiser with some interesting information regarding your role as the model for the late Jack Walker when he was making the statue for the Boer War Memorial here. Yesterday however, another claimant to the distinction of being the model was advanced in the Bendigo Advertiser by Mr Richard Marshall, of Moran Street, Bendigo who said that the soldier's model was Phillip Handmear. I understand that your brother has sent the newspaper cuttings on to you. When he called to see me yesterday, he suggested that I write to you for further particulars. Can you recall the discussion you had with Jack Walker when he approached you about acting as the model and do you remember how many times you posed for him, and whether the work was done in the house, in the yard, or in one of the outbuildings at Moran Street? In short, any details at all. At this point in time we are considering an interesting facet in Bendigo's history, so any seemingly unimportant incidents could really be useful if we knew about them. Have you any old newspaper cuttings mentioning your name in connection with the memorial? Do you remember any remarks that passed between you and Jack Walker during the long sessions you must have put in on this work? This could be very important. And do you recall where the rifle came from? Did you or Jack Walker borrow it from the military authorities? Back in 1934 Jack Walker recalled having had to pull the plaster model down and remake it when he discovered it was slightly off-balance and was slowly toppling forward. He told me he had to get his model to pose again. Do you know anything about this? Could it have been that he got Mr. Handmear in for the final stage of the work? That, of course, would apply only if you were not available. Incidentally, I never heard of Mr Handmear until I saw his name in yesterday's "Advertiser". In any case I intended contacting your brother or you to enquire whether any member of your family has an old photograph of you in your Boer War uniform, that is, one taken about the time of or just after the Boer War. I am sure that members of the Bendigo Branch of the Royal Historical Society would be most interested to see it. I hope you will have the time and inclination to consider the many points I have raised in this letter because the subject has aroused a lot of interest in Bendigo. Hoping you are well and quite as active as you wish, I remain, with all good wishes, Yours sincerely, Harold Curnow". john walker, jack walker, boer war memorial bendigo, arthur pattinson, soldiers' memorial bendigo

Schuss was advertised as Victoria’s Official Ski Journal It was issued monthly from 1935 to 1961 except during the war when summer issues covered two months. This continued after the war, but it averaged 10 issues annually over its 25 year life. Schuss was published by the Ski Club of Victoria which had a membership of 38 Ski Clubs and demanded to be recognised as the prime authority on skiing in the state. The other 30 ski clubs with 85% of the members disagreed and the politics of skiing became heated. These clubs formed the Federation of Victorian Ski Clubs with their own journal, Ski Horizon. With the establishment of the Victorian Ski Association, Ski-Horizon published its last issue in Nov - Dec. 1955 and the role of the official journal was fully taken over by “Schuss”. This item is significant because it contains stories, images and information documenting the development of the ski industry in Victoria.The journal features stories and events chronicling developments in Victoria and internationally. Page 234 - 235 featured an extensive report on developments at Falls Creek, Victoria. FALLS CREEK SKI CENTRE CONTINUES ITS STEADY ADVANCE Falls Creek skiing has continued to show markedly improved standards over this past season. Better facilities in and around the ski village itself have been accompanied by better skiing on the abundant snow covering all adjacent slopes. Just to mention a few of those facilities in the village: There have been extensions and big improvements at the Hymans Ski School, a number of excellent new club lodges have come into being, Nissen Lodge is in operation at the foot of the tow and adjacent slopes all setting new standards of ski-living that must make other resorts watch their step. While the advent of Cecil Dobson's General Store and Ski Centre, added to the service already available at the Nissen tow house, has removed all the old problems of food supply. Nissen ski-tow, the enticing face of the Frying Pan has given good service for a number of seasons now. To it has been added this year Bob Hyman's small portable tow which has worked for most of the season on the slope just in front of Skyline Lodge. The racing programme carried out at Falls Creek through this season has maintained the high standard shown in all other affairs. The main events started with the N.E.D.S.A. Championships early in August, then followed the Victorian and S.C.V. Nordic titles, and the Intermediate events.schuss journal, the ski club of victoria, developments in falls creek

Set of 15 Metcard tickets, used during the Metcard era. Has the Metcard logo on it, along with other Metcard, information. All of the tickets appear to have been used. .1 - Millennium Metcards cartoon by Ron Tandberg (3 copies) .2 - Melbourne Comedy Festival - Matt Golding cartoon - estimated travel time (3 copies) .3 - standard Metcard (3 copies) .4 - Millennium Metcards cartoon by Peter Nicholson (3 copies) .5 - Metcard featuring a stylised image of the Sidney Myer Music Bowl (3 copies) .6 - ditto of Luna Park (4 copies) .7 - ditto Melbourne Exhibition Centre (3 copies) .8 - as for 2 - but with a fish line - trolley wire - theme. ( 3 copies) .9 - featuring Melbourne food. ( see also Reg Item 1466 for the same theme) .10 - Metcard featuring a stylised image of the Flinders St Station (3 copies) .11 - Melbourne Comedy Festival - Matt Golding cartoon - Metcard Machine tapping his foot (3 copies) .12 - ditto - Metcard Machine following a passenger onto a train (3 copies) .13 - ditto - Metcard Machine and an ATM ( 3 copies) .14 - Millennium Metcard - cartoon by John Spooner (3 copies) .15 - ditto - cartoon by Mark Knight. ( 3 copies) See also Reg item 1465 for other cartoons cards. Additional copies added 3/5/16 from donation of G. Warburton - see Reg Item 1463.1 for other examples and details of donation.trams, tramways, tickets, metlink, metcard, luna park, cartoons, flinders st station

Black and white photograph of scene showing unmade road with two children, a boy and a girl standing outside a small wooden building. Lady is sitting by the side of road. Road dips down to a bridge then rises again towards distant settlement in background. (3 copies)Typed below enlarged photo, "Addison home, 1902 - Opposite present St. Paul's, Warrandyte Road". Written on backing sheet, "Andersons Creek Rd. 1903. Mrs. Addison (Annie Kennedy) and family - Annie, born 1897 and William. Their house at right was on a 5 acre block. Ringwood in background". Backing sheet of another copy reads, "Andersons Creek Road 1902 (Warrandyte Rd. looking south). Mrs. Addison (Annie Kennedy) and family. Annie (Jnr), born 1897 and Samuel John James William, born 1894. Their home, at right, was on a 5 acre block. Ringwood in background - burned down by pet magpie. T. Grant's land ploughed - now Eastland. Adelaide St. seen on right of it. Mullum Creek Bridge at foot of hill". Typed below this photograph, "Warrandyte Rd. Ringwood looking south from near Mullum Rd. Ringwood in background. Maroondah Highway at top of hill with Mullum Creek bridge seen in dip - 1902".

.1) Charles Henry Ernest Williams No 1108 enlisted in the AIF in G Coy 15th Batt on 26.9.1914 age 29 years. Embarked for Egypt 22.12.1914, embark for Gallipoli 12.4.1915, KIA 2.5.1915, buried at Popes Hill. His body was later exhumed and buried in Quinns Post Cemetery. .2) Stanley Melville De Ravin had some 5 years military service prior to enlisting in the AIF on 24.8.1914 with the rank of Lieut in G Coy 7th Batt age 24 years. Embark for Egypt 19.10.1914, embark for Gallipoli 12.4.1915, promoted Capt 26.4.1915, awarded MID for “Conspicious Gallantry and Services” between 25.4.1915 - 5.5.1915, WIA 8.5.1915 GSW to Foot, returned to Aust classed unfit for General Service, promoted Major 13.7.1917, returned to France July 1917, transferred to Senior Officers School England Oct 1917, hospitalised in November 1917 he then left England for Australia with effects of a dislocated knee on 24.1.1918, his appointment in the AIF terminated on 24.4.1918. He was one of the “First Lot” of 93 men who volunteered in Bendigo. .3) Alfred R Williams No VX53411 enlisted in the 2nd AIF with 2/28th Batt on 21.4.1941 age 21 years. Promoted to Cpl he was KIA at El Alamein on 23.10.1942. .4) James Andrew Williams “MM” No 742 enlisted in the AIF in C Coy 40th Batt on 15.3.1916 age 29 years. Embark for England 1.7.1916, embark for France 30.9.1916, transfer to 15th Batt 13.10.1916, allotted Regt No 742A, hospital 26.1.1917 with Fracured Rib, rejoin unit 7.3.1917, WIA 11.4.1917 GSW left forearm severe remaining on duty for a short period, rejoin unit 16.7.1917, WIA 2nd occasion 26.9.1917 GSW neck and arm, during this action he was awarded the “Military Medal” at Zonnebeke, promoted Cpl 2.10.1917, rejoin unit 18.12.1917, WIA 3rd occasion 25.8.1918 Gassed, while recovering admitted with Diarrehoea 26.10.1918. After all this he gets himself into some trouble refusing a duty and is charged and reduced to the ranks. He disembarks in Melbourne on 13.11.1919 and discharged from the AIF on 14.1.1921..1) Copy - black and white photograph of soldier in uniform mounted in green cardboard folder. Private Charles H E WILLIAMS. Service details in black ink on paper. .2) Copy - black and white portrait photograph mounted in green cardboard folder. Major Stanley M De RAVIN. Information in black print on white paper. .3) Copy - black and white portrait photograph, solder in uniform mounted in green cardboard folder. Cpl Alfred R WILLIAMS. Information in black print on white paper. .4) Copy - black and white photograph soldier in uniform mounted in green cardboard folder. James Andrew WILLIAMS. Information in black print on white paper..1) In loving memory of great uncle Charles killed at Gallipoli may 20th 1915. From Jan Grose. .2) In loving memory Major Stanley M De RAVIN from I & J Grose .3) In loving memory of our uncle great uncle and great great uncle J.C. A. O Grose. .4) In loving memory of our grandfather great grandfather and great great grandfather J.C. A.O. Grosephotographs, oval, ww1

This handmade green glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber-coloured glass and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free-blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from the fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The shipwreck is one of the worst, and best-known, shipwrecks in Victoria’s history.Bottle, green glass wine bottle with contents. Glass has ripples and crease lines. The mouth has a seal in place. The applied lip is cracked. It has a deep pushed-up base with a pontil mark. Handmade with no seams in the body. The contents smell like apple cider vinegar. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle, green glass

This handmade black glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber-coloured glass and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a two-piece dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free-blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from the fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The shipwreck is one of the worst, and best-known, shipwrecks in Victoria’s history.Bottle, black glass wine bottle with contents. Glass has ripples, crease lines and side seams. The mouth has a seal in place. The applied lip is wide. The base has been pushed-up base and has a pontil mark. Handmade with a ridge in the body around the base of the shoulder. The bottle has a white sticker.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle, black glass, black bottle

This handmade black glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber-coloured glass and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a two-piece dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free-blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from the fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The shipwreck is one of the worst, and best-known, shipwrecks in Victoria’s history.Bottle, black glass wine bottle with contents. Glass has ripples, and crease lines and the neck has side seams. The mouth has a seal, the top of which comes away from the rest of the seal. The applied lip is wide. The base has been pushed-up base and has a pontil mark. Handmade with a ridge in the body around the base of the shoulder. The contents have no colour or odour. The bottle has a white sticker.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle, black glass, black bottle

Decimal currency was spectacularly introduced in an overnight overthrow on 14 February 1966, but it took another 8 years before metrication finally arrived in the forest and timber industry. Eventually, the measurement of logs and sawn timber changed from imperial, and excruciating, measures such as super feet of sawn timber, billets and cunits (100 cubic feet) of stacked pulpwood and hoppus log volumes to simpler cubic metres. Measuring firewood was a particular nightmare. For example, there were standard chords, stove cords, kitchen cords, running cords, face cords, thrown chords, fencing cords, country cords, long cords, raummeter or steres (1m x 1m x 1m). A standard cord of firewood had a volume of 128 cubic feet, measured as a pile 8 feet long, 4 feet high and 4 feet wide (3.624 m3). And how about this for confusing…. in Victoria, an imperial or long ton (by measure) of green firewood was a stack 5 feet long billets (2 axelengths at 2′ 6″ each), one axelength high (2′ 6″) and two axelengths long (5 feet) equalling 62.5 cubic feet. For added befuddlement, there were three different sorts of tons: Imperial tons or long tons, American short tons and metric tonnes (spelled with two n’s). Not forgetting that a cubic imperial ton of firewood (40 cubic feet) which equalled 1.133 cubic metre. The metrication process began in 1974 and was completed by 1976 but the transition was not without its challenges along the supply chain for foresters, overseers, logging contractors, sawmillers, hardware stores and builders alike. Timber lengths changed from feet to metres but were still sold in multiples of one foot or 0.3 m (1.8, 2.1, 2.4, 2.7 etc) whereas a menacing lump of 4-Bee-2 transformed into a rather less colourful 100mm by 50mm. Measurement and calculations of area also became so much easier in hectares rather than complicated acres, roods and perches. The Forest Metriverter slide-rule was issued by the Forestry and Timber Bureau to make metric conversions easier.Forest MetriverterRoss Pennyforest measurement, surveying, forests commission victoria (fcv)

Dahlia & Arts Festival, Eaglehawk.16th - 26th March, 1995. Programme. Debutante Ball (1), 'The Festival' Exhibition at the Borough Galleries. Debutant Ball (2). Art Preview and Presentation of Awards. Craft Market. Displays of Cake Decorating. Sidewalk Busking Competition. Gala Fair. Eaglehawk Fire Brigade open day. Porcelain Art and Craft Show. Art Show. Display of Memorabilia-Cornish Assoc. Static Display-Irish Assoc. Children's Multi-Dimensional Art Exhibition. Children's Photographic Display. Flower Show. Photographic Print Competition. Eaglehawk Heritage Society-Display. Bridge to Park, foot race. Street Procession. O'Shea-Ryan Bendigo Irish Dancing School and O'Shea-Ryan Academy of Irish Dance - Melbourne Performance. 2nd Seasons Fashion Show. 13th Annual Dahlia & Arts Half Marathon. Ecumenical Church Service. Picnic Lunch. Free Concert-Guinness Show Band. Cycling Criterium. Mining Heritage Tour of Eaglehawk. Dahlia Diner. Variety Concert. ''High Jinx On The High Seas''. Childrens Fancy Dress Parade. Gala Charity Old Time Ball. Brass Instrument Solo/Party Competition. 'Gardening Through The Drought'-Guided Tour. California Hill Church Open Day Craft & Devonshire Teas. Traditional Cornish Concert. 'A Time to Remember'. Annual Croquet & Bowls Tournaments. Festival Guest of Honor Mr Wayne Gregson - Journalist. Editor - Bendigo Advertiser. Festival President, Mr Noel Thomas. Vice Presidents Alan Bull, Kevin Herdman. Executive Officer Jeanette Moss. Treasurer Lorna Thomas. Acknowledgements and sponsors on back page.event, entertainment, eaglehawk dahlia & arts festival, dahlia & arts festival, eaglehawk.16th - 26th march, 1995. programme. debutante ball (1), 'the festival' exhibition at the borough galleries. debutant ball (2). art preview presentation of awards. craft market. displays of cake decorating. sidewalk busking competition. gala fair. eaglehawk fire brigade open day. porcelain art and craft show. art show. display of memorabilia-cornish assoc. static display-irish assoc. children's multi-dimensional art exhibition. children's photographic display. flower show. photographic print competition. eaglehawk heritage society-display. bridge to park, foot race. street procession. o'shea-ryan bendigo irish dancing school and o'shea-ryan academy of irish dance - melbourne performance. 2nd seasons fashion show. 13th annual dahlia & arts half marathon. ecumenical church service. picnic lunch. free concert-guinness show band. cycling criterium. mining heritage tour of eaglehawk. dahlia diner. variety concert. ''high jinx on the high seas''. childrens fancy dress parade. gala charity old time ball. brass instrument solo/party competition. 'gardening through the drought'-guided tour. california hill church open day craft & devonshire teas. traditional cornish concert. 'a time to remember'. annual croquet & bowls tournaments. festival guest of honor mr wayne gregson - journalist. editor - bendigo advertiser. festival president, mr noel thomas. vice presidents alan bull, kevin herdman. executive officer jeanette moss. treasurer lorna thomas. acknowledgements and sponsors

Two Royal District Nursing Service (RDNS) Sisters are assisting a young male patient who has a movement disorder, to change position in his reclined chair.The Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), later known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing, and to people of many cultures, throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Trained nurse (Sisters) provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Poliomyelitis, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary.A coloured photograph showing two Royal District Nursing (RDNS) Sisters with a young male patient who is lying in a reclined chair. The Sister standing on his left is smiling; she has short straight dark hair, and is wearing a RDNS light blue apron over her royal blue dress and darker blue long sleeve cardigan. The Sister on the right hand side of the patient's chair is laughing. She has blonde hair and is slightly bent over the chair as her left hand is supporting his left leg. She is wearing the RDNS summer uniform of the day - a white short sleeve blouse under a royal blue V neck tunic style frock. Her right arm is bent and resting on top of the patient's chair and pillow. The young man has short dark hair and is smiling and looking towards the left of the photograph. He is wearing a dark blue long sleeve top and his right arm is extended toward the Sister on the left hand side of the photograph. His legs are over his coverings with his left leg bent at the knee. He is wearing light coloured pants and has a pink and white striped slipper on his foot. His pillow is white, and coverings seen are blue and white check, white, and a pale pink sheepskin. A wood board wall is in the background. A vase of flowers are standing on the part of a round low table that can be seen in the right hand rear corner. A pale lilac wall can be seen on the right hand side. A small section of a dark patterned carpet can be seen.royal district nursing service, rdns, rdns uniform, rdns patient care

Set of 14 tram car templates contained within Reg Item 356, cut from card board to indicate the over all dimensions of the various type of tramcars. Would have been used in the drawing office for checking clearances on buildings, trackwork, junctions. Cut with holes in the centre to enable this to be done. Scale 1/2" = 1 foot. .1 - Marked "A" - for a combination car - 30' 11.25" long, 7'6" wheelbase .2 - "B" - for a combination car - 32' long, 6'6" wheel base to drawing R489 and summer or straight sill car to drawing R820. .3 - "C" - Straight Sill combination car - 33' long, 7'6" wheelbase. .4 - "D" - Combination car, length 31'11", 7'6" wheelbase .5 - "E" - Combination car, length 35', 7' wheelbase .6 - "F" - DC Bogie car, to Drawing 112, length - 44' 3.5", truck centres 22 '4" .7 - "G" - ditto length 44' 5.5", truck centres 23' 7.5" .8 - "H" - ditto length 44' 5.5", truck centres 24' 7.5" .9 - "J" - four motor bogie, to drawing 854, length 45' 6", truck centres 24'6" .10 - "K" - Combination car, length 35', 12' Radiax truck. .11 - Bogie tramcar, W class length 48', truck centres 26' 6" .12 - ditto, W2 534, length 48', truck centres 26' 0" .13 - W4 class tram, .14 - W5 730, length 46' 6', truck centres 28'trams, tramways, mmtb, plans, drawings, templates

Norval Guest-House Aginda and Wettenhall The original Norval The story of Norval begins in 1917 when it was built as a private residence for Mr and Mrs William Thompson. Mrs Thompson was a pioneer of the tourist business, having come from Ballarat to Hall's Gap in 1909 to manage Bellfield Guest-house According to Ida Stanton, in her history of Hall's Gap entitled "Bridging the Gap", Mr Thompson and his wife acquired the six roomed shearers quarters at "Hankelow", on land leased by the Wettenhall family, on the south side of Bellfield. Mr Thompson, she says, completely dismantled the quarters, carefully marking each board, then hired George McKeon to cart the material up to where the original Norval house stood. With great care, the rooms were rebuilt into a home for William and his wife Mathilda. Catherine Good, the daughter of Viola (nee Wettenhall) and niece of Dr Roland, in here "Recollections" entitled "Look to the Mountains - Viola's View 1887-1979", mentions Hankelow. Speaking of her days at Glen Holford, the Wettenhall home at Pomonal, Viola says "Verona and Francie Dennis, my cousins, and I went for one very exciting trip. Father (i.e Dr Roland's father) had bought 300 acres in the Gap to take sheep from Carr's Plains in time of drought, and had a little cottage there with one of the Glen Holford men and his wife in charge. It was called Hankelow. So we three set off over the Range from Glen Holford on foot and leading a pack horse with our night attire and no doubt sponge bags. "We stayed the night at Hankelow with Jim and Minnie. Minnie had been a housemaid at Glen Holford. I was very fond of her. It makes one laugh to think of the excitement of "roughing it"! Minnie gave us a lovely dinner with meringues, and cream, I remember, then early morning tea. After breakfast we were driven in the buggy to the foot of the Goat Rock (since renamed Mt Rosea) and off we went - walking in our long skirts and ankle boots. There was no track of any kind, nor blazed trail - we just made for the top. It was rather frightening at times because we couldn't see where the top was an it always seemed to get further and further away. The last mile was so terribly steep, with a lot of lose shale where you went up twelve inches and slipped back six. Now you motor to about a couple of miles from the top and then have a graded path. Anyway, we got there and back safely and were rewarded with a magnificent view" By a strange coincidence, Hankelow, the source of Norval Guest-house in times past (if the name can be applied to the property as a whole, which seems likely) is in fact also the source of our Wettenhall Campsite! Hankelow was named after a property owned by the Wettenhall family in England. In 1917 William and Mathilda retired to their newly built home (Norval) "to escape from the tourist business" However, so many people made requests to stay with them that they found it necessary to add several more rooms and sleepouts to their home. In this way, early in 1921, the guest-house began to take shape. Mr Thompson, a former librarian of the Mechanics Institute in Ballarat, named the house "Norval". The name "Norval" comes from a quotation from the play 'Douglas" by John Home. Written in the mid-16th century the play is set in the Grampian Mountains of Scotland. The story is of a boy who was parted from this mother during his early childhood, and was given to a shepherd who raised him. Some eighteen years later the mother by chance happens to meet here son, and not knowing his true identity, asks his name. He answers, "My name is Norval; and in the Grampian hills my father feeds his flocks." Perhaps it was simply because "Norval" was associated with the "Grampians" that it was chosen by Mr Thompson. He may also have been conscious of feeding "flocks" of tourists in his expanding, guest-house. Norval Guest-house prospered. It was known for its fine cooking and friendly atmosphere - a tradition which has carried through to the modern Norval! It closed between 1940 and 1949 because of the second world war. In 1949 it was decided to almost completely rebuild the house. Most of the old building (Hankelow plus) was demolished and rebuilt to a much larger and more modern plan. And then, on May 1, 1965, it was purchased by the Committee of Management of the Methodist and Presbyterian Conference Centres. At this time the guest-house was owned and operated by Marjorie and Lachland McLennan, Mrs McLennan being the daughter of William and Mathilda Thompson, the pioneers of the establishment. The McLennans had operated the Guest-house since about 1930.Photocopy 2 pages of article from book titled 'In the Making' title of article Norval guest House the original Norvalaccommodation, guesthouses, norval

This rocket launching machine is used in conjunction with the Dennett Rocket Set. Both are part of the rocket rescue equipment that launches the line-throwing rescue rockets. A light line is threaded through the carved holes in the 8 foot long shaft and attached to the scribed channel at the base of the shaft. The rocket head is fitted to the shaft and inserted into the machine. The machine is set at an angle determined by the person in charge of the rescue crew, and the legs and base of the machine are adjusted accordingly with the use of the quadrant, or protractor, and plumb-bob on the side of the machine. The rocket is then ignited and fired across the vessel in distress. John Dennett - John Dennett was from Carisbrooke, in the Ilse of Wight, UK. In 1826 he invented, patented and demonstrated an improved method of rocket powered, line firing rescue equipment for saving lives. The rockets had a longer range than the mortars being used, they were lighter, needed less preparation time, only needed one line for repeated shots, and fewer people were needed to move the equipment. Very favourable reports of Dennett’s rockets were received by those in charge of His Majesty’s Naval and Military services. In 1832, Dennett’s rocket-thrown line was sent out to the wreck of the ‘Bainbridge’, and was responsible for nineteen survivors coming ashore in two boatloads, along the fired line. Dennett’s rocket received national fame, and a one-year contract to supply rockets to the Coastguards. He became known as ‘Rocket Man’ and his rockets were used in rescues at least until 1890, when his son Horatio was running the business. A rocket weighing 23 lb would have a range of about 250 yards (228 metres), on average. Saving lives in Warrnambool – The coastline of South West Victoria is the site of over 600 shipwrecks and many lost lives; even in Warrnambool’s Lady Bay there were around 16 known shipwrecks between 1850 and 1905, with eight lives lost. In 1859 the first Government-built lifeboat arrived at Warrnambool Harbour and a shed was soon built to house it. In 1858 the provision of rocket and mortar apparatus was approved for lifeboat stations in Victoria, and in 1864 a rocket house was built to safely store the rocket rescue equipment. In 1878 the buildings were moved to the Breakwater area, and in 1910 the new Lifeboat Warrnambool arrived with its ‘self-righting’ design. For almost a hundred years the lifeboat and rocket crews, mostly local volunteers, trained regularly to maintain their rescue skills. They were summoned when needed by alarms, gunshots, ringing bells and foghorns. Some became local heroes but all served an important role. By the end of the 1950s the lifeboat and rescue equipment had become obsolete. Rocket Rescue Method - The Government of Victoria adopted lifesaving methods based on Her Majesty’s Coast Guard in Great Britain. It authorised the first line-throwing rescue system in 1858. Captain Manby’s mortar powered a projectile connected to rope, invented in 1808. The equipment was updated to John Dennett’s 8-foot shaft and rocket method that had a longer range of about 250 yards. From the 1860s the breeches buoy and traveller block rocket rescue apparatus was in use. It was suspended on a hawser line and manually pulled to and from the distressed vessel carrying passengers and items. In the early 1870s Colonel Boxer’s rocket rescue method became the standard in Victoria. His two-stage rockets, charged by a gunpowder composition, could fire the line up to 500-600 yards, although 1000 yards range was possible. Boxer’s rocket carried the light line, which was faked, or coiled, in a particular way between pegs in a faking box to prevent twists and tangles when fired. The angle of firing the rocket to the vessel in distress was measured by a quadrant-type instrument on the side of the rocket machine. Decades later, in about 1920, Schermuly invented the line-throwing pistol that used a small cartridge to fire the rocket. The British Board of Trade published instructions for both the beach rescue crew and ship’s crew. It involved setting up the rocket launcher on shore at a particular angle measured by the quadrant, inserting a rocket that had a light-weight line threaded through its shaft, and then firing it across the stranded vessel, the line issuing freely from the faking board. A tally board was then sent out to the ship with instructions in four languages. The ship’s crew would haul on the line to bring out the heavier, continuous whip line, then secure the attached whip block to the mast or other sturdy part the ship. The rescue crew on shore then hauled out a stronger hawser line, which the ship’s crew fixed above the whip block. The hawser was then tightened using the block on the shore end of the whip. The breeches buoy and endless whip are then attached to the traveller block on the hawser, allowing the shore crew to haul the breeches buoy to and from the vessel, rescuing the stranded crew one at a time. This rocket launcher machine is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Rocket launcher, named a Rocket Machine, and storage box. Launcher has a long open metal channel with a spike at the base, and narrow, rectangular device, which is the line-firing rocket machine, at the top, all painted blue. Two hinged wooden legs are attached where the channel and machine meet. The side of the machine has an oval cut-out window and an attached quadrant, or protractor, with a plumb-bob on it. The quadrant has angles marked in degrees. The long protective box has white stencilled letters along the side. Its lid has three hinges and is fastened with two metal latches.On box “ROCKET MACHINE” On quadrant “10” “20” “30” “40”flagstaff hill maritime museum & village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck, life-saving, lifesaving, rescue crew, rescue, rocket rescue, maritime accidents, shipwreck victim, rocket crew, beach rescue, line rescue, rescue equipment, rocket firing equipment, rocket rescue equipment, rocket apparatus, beach apparatus, petticoat breeches, breeches buoy, rocket house, rocket shed, lifeboat men, rocket equipment, rocket machine, rocket head, rocket launcher, rocket line, marine technology, william schermuly, line-firing pistol, line throwing gun, schermuly pistol, pistol rocket apparatus, beach rescue set, traveller, block, running block, pulley, hawser, faking, faking box, faked line, rescue boat, lifeboat, lady bay, warrnambool harbour, port of warrnambool, tramway jetty, volunteer lifesavers, volunteer crew, breakwater, lifeboat warrnambool, rocket rescue method, rocket rescue apparatus, captain manby, mortar, henry trengrouse, sky rocket, john dennett, shore to ship, colonel boxer, two-stage rocket, italian hemp, quadrant, protractor, schermuly, line-throwing pistol, line throwing cartridge, rocket apparatus rescue, stranded vessel, tally board, light line, whip line, endless whip, petticoat buoy, traveller chair, traveller block, her majesty’s coast guard, harbour board, line thrower, line throwing, beach cart, hand barrow, sand anchor, hawser cutter, life jacket, faking board, welsh hand barrow, rocket set