Until late 1925, all record players reproduced sound by purely mechanical means and relied on a so-called "amplifying" horn to efficiently couple the vibrations of the stylus and diaphragm to the space occupied by the listeners. In 1906, the Victor Talking Machine Company, Columbia's arch competitor, introduced a line of models in which the horn and other hardware were concealed within a cabinet, made to look like fine furniture rather than a mechanical device. They named the new style a "Victrola". It quickly proved to be very popular and successful. Other makers, adopting the distinctive suffix, introduced their own "-ola" internal horn machines, such as Edison's Amberolas and Columbia's Grafonolas. They were soon outselling the external horn models. At first, like nearly all other early record players, all Grafonolas were driven by a spring motor that the user had to wind up with a crank before playing a record. In 1915, Columbia began to introduce electric-motor-driven models, as a majority of urban areas had been wired to electrical grids. The electrified Grafonolas supported both alternating and direct currents from 110 to 220 volts. Electrified Grafonolas never gained the popularity enjoyed by the spring motor-driven versions due to substantially higher prices and a lack of electrical service in rural areas. Grafonolas were manufactured under the 1886 United States Letters Patent No. 341,214 which Columbia Graphophone company acquired through its predecessor American Graphophone Company. Two models were available; a portable table model and bigger stationary floor model, offering limited mobility through the application of casters. The most notable table models included Grafonola Favorite introduced in 1911 and Grafonola Savoy introduced in 1915. The most notable floor models included Grafonola Symphony Grand introduced in 1907, Grafonola Regent introduced in 1909, Columbia Mignon introduced in 1910, Grafonola Princess introduced in 1911, Columbia Colonial introduced in 1913. Various period Grafonolas were introduced in 1917 to cater to an increasingly prosperous clientele. Columbia Phonograph Company began to manufacture a series of ornate, limited edition period machines. These were highly priced (some as high as US$2,100 ) special orders that provided consumers with options to choose styles which matched their interior décor. Although the Gramophone does not have a large monetary value, it is of social significance as it demonstrates the progress made in audio reproduction from the first Edison cylinder machines to improvements that allowed ordinary people to be able to buy music discs and enjoy music in their own homes. Gramophone with internal horn, floor model, mechanically operated by a crank handle. Colombian Grafonola Princess (Type F2) brand. Gramophone is in a wooden display cabinet with room for record storage underneath and is complete with handle. Manufactured in 1911 by Columbia, USA."Columbia Grafonola Type 2 Made in USA"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, record player, gramophone, mechanical gramophone, floor model gramophone, gramophone record, columbia graphophone company, american graphophone company, columbia, grafonola, grafonola princess, music, playing music, audio reproduction, sound equipment, domestic entertainment, 1911 gramophone

The lines plan was drawn for the building of the steamship S.S. Rowitta, a passenger steam ferry built in Hobart for use in Tasmania's rivers, the Derwent and the Tamar. It is a copy of the original lines plan. The S.S. Rowitta was built by Purdon & Featherstone, at Battery Point, Hobart (Tasmania) in 1909 from Huon Pine and Kauri planking. Her final configuration included three masts and a ship rig. S.S. Rowitta took its first voyage from Hobart to Launceston in 1909 and operated for 30 years as a passenger ferry on the Tamar and Derwent Rivers. She also served as a freighter, an army supply ship, a luxury charter ferry and a floating restaurant as well as a prawn boat at Lakes Entrance. (She has also been named “Sorrento” and “Tarkarri”.). In the very early days of Flagstaff Hill ‘Rowitta’ was purchased from Lakes Entrance by Warrnambool City Council and the Victorian State Government for $20,000. The Rowitta had a hull configuration very similar to a local boat named the SPECULANT, which played a key role in the Port of Warrnambool in the early 1900s. The Speculant was the largest ship ever registered with Warrnambool as her home port. Local owner and trader P J McGennan & Co, (Peter McGennan) used her as a freight carrier to Melbourne and timber trader between New Zealand and Victoria. She sunk at Cape Otway in 1911 on a voyage to Melbourne. In 1974 Rowitta was delivered to Port Fairy and then later sailed to Warrnambool’s Breakwater where she was lifted out of Lady Bay and loaded onto the back of a long transport truck and slowly and carefully driven along Pertobe Road, through the Surfside Caravan Park and over the railway line, into Flagstaff Hill’s Maritime Village. Transfer arrangements were coordinated by Jack Morse, of Morse Engineering, a member of the Flagstaff Hill Planning Board, and Ken Goyen, a local crane operator. The ‘Rowitta’ was originally acquired to be rebuilt to match the original SPECULANT. When finances became tight in 1976 a review of all plans ended in the decision to restore the “Rowitta” to her original configuration. She was then restored, renamed the original name of “Rowitta” and installed in the Village’s Harbour Lake to become one of the popular vessels on display for visitors to enjoy. It was the decision of the Advisory Committee to Flagstaff Hill to have Rowitta demolished in April 2015 due to extensive deterioration. Items associated with the Rowitta continue to be held in Flagstaff Hill Maritime Village’s Collection.The lines plan of the passenger ferry S.S. Rowitta.is significant for its association with Tasmanian history from the early to mid-1900s. It is also connected to the history of the Rowitta, which was a large exhibit on display at Flagstaff Hill Maritime Village from the museum’s early beginnings until the vessel’s end of life 40 years later. The Rowitta represents the importance of coastal traders to transport, trade and communication along the coast of Victoria, between states, and in Australia before rail and motor vehicles. The vessel was an example of a ferry built in the early 20th century that served many different roles over its lifetime of over 100 years. Lines Plan, copy, of the steamship S.S. Rowitta. Rectangular drawing paper with copy of the hand drawn lines plan showing several profiles of the vessel. The vessel was built in 1909 by Purdon & Featherstone, Hobart. On the revers is handwritten inscription, and a white label with a handwritten number.Printed on the plan: "S.S. ROWITTA / LINES PLAN / SCALE 1/4" TO 12" " Blue ink writing on the back: "Rowitta" Blue ink on label: "56"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph, s.s. rowitta, charles street wharf,, launceston., purdon & featherstone, rowitta, tarkarri, speculant, purdon & featherstone of hobart, passenger ferry 1909, sorrento, lines drawing, ship's plan, lines plan, line plan, shipbuilding, ferry

Bradley and Hubbard established their company in 1852 in Meriden, Connecticut when Nathaniel and William Bradley, Orson and Chitten Hatch, and Walter Hubbard, formed Bradley, Hatch & Company. This incarnation of the company only manufactured clocks. The Hatch brothers sold their interest in the company in 1854 and it was renamed, Bradley & Hubbard. Clocks remained the firm's primary product into the 1860s. In addition to their line of clocks, Bradley & Hubbard also produced a wide range of household items including match safes, call bells, andirons, urns, bookends, frames, desk accessories and vases. Technological advances in drilling and refining crude oil in the late 1850s and early 1860s paved the way for the demise of whale oil as lamp fuel. Soon after Colonel Edwin Drake struck oil in Titusville, Pennsylvania on August 27, 1859, Nathaniel Bradley saw an opportunity to capitalize on the future of this new fuel. Nathaniel decided to produce an extensive line of kerosene burning lamps this proved to be a wise business decision. Kerosene was soon to become a widely used, safe and relatively inexpensive lamp fuel. Between April 7, 1868, and December 23, 1913, the company was listed as the assignee for at least 89 lighting patents. Many of these patents were for lamp and chandelier designs and various improvements in lamp burners. In 1875 the company reorganized to form the Bradley and Hubbard Manufacturing Company. Walter Hubbard served as President and Nathaniel Bradley as Treasurer. The firm enjoyed rapid growth throughout the 1880s. By 1888, the company employed over one thousand workers and had showrooms in major cities including New York, Philadelphia, Boston and Chicago. One of the most prolific of the B&H products was the Rayo lamp it produced under contract for Standard Oil. In keeping with the changing times, Bradley & Hubbard produced a variety of electric lamps as well. Walter Hubbard passed away in 1911 and Nathaniel Bradley in 1915. The company continued through the 1930s and was purchased by the Charles Parker Company, also of Meriden, Connecticut, in 1940. The Parker Company was quite diversified in its product line, also producing an extensive line of lamps and high-end chandeliers. Parker operated its acquisition as the "Bradley & Hubbard Division." Parker ceased production of the Rayo lamp in the early 1950s. In 1973, the Bradley and Hubbard buildings were demolished, effectively ending that chapter in American lighting manufacture.Early innovation in kerosene lamp burner design by Bradley and Hubbard lamp manufacturers who at the turn of the 20th century were the biggest lamp producers in the world. The item is significant due to its historic connection with a major innovator of lamp design.Lamp Burner, metal container with turning screw for wick and mesh walls. Is made in 2 parts. Raised embossing on wick adjustment screw " PAT APPLIED FOR" on top of burner "B & H Patented.July.1.90.Nov.20.94"flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bradley & hubbard manufacturing company, kerosene lamp burner, early lighting

The subject of this photograph is the S.S.Rowilla, a passenger steam ferry built in Hobart for use in Tasmania's rivers, the Derwent and the Tamar. The photograph shows her docked at the Charles Street Wharf in Launceston. The S.S. Rowitta was built by Purdon & Featherstone, at Battery Point, Hobart (Tasmania) in 1909 from Huon Pine and Kauri planking. Her final configuration included three masts and a ship rig. S.S. Rowitta took its first voyage from Hobart to Launceston in 1909 and operated for 30 years as a passenger ferry on the Tamar and Derwent Rivers. She also served as a freighter, an army supply ship, a luxury charter ferry and a floating restaurant as well as a prawn boat at Lakes Entrance. (She has also been named “Sorrento” and “Tarkarri”.). In the very early days of Flagstaff Hill ‘Rowitta’ was purchased from Lakes Entrance by Warrnambool City Council and the Victorian State Government for $20,000. The Rowitta had a hull configuration very similar to a local boat named the SPECULANT, which played a key role in the Port of Warrnambool in the early 1900s. The Speculant was the largest ship ever registered with Warrnambool as her home port. Local owner and trader P J McGennan & Co, (Peter McGennan) used her as a freight carrier to Melbourne and timber trader between New Zealand and Victoria. She sunk at Cape Otway in 1911 on a voyage to Melbourne. In 1974 Rowitta was delivered to Port Fairy and then later sailed to Warrnambool’s Breakwater where she was lifted out of Lady Bay and loaded onto the back of a long transport truck and slowly and carefully driven along Pertobe Road, through the Surfside Caravan Park and over the railway line, into Flagstaff Hill’s Maritime Village. Transfer arrangements were coordinated by Jack Morse, of Morse Engineering, a member of the Flagstaff Hill Planning Board, and Ken Goyen, a local crane operator. The ‘Rowitta’ was originally acquired to be rebuilt to match the original SPECULANT. When finances became tight in 1976 a review of all plans ended in the decision to restore the “Rowitta” to her original configuration. She was then restored, renamed the original name of “Rowitta” and installed in the Village’s Harbour Lake to become one of the popular vessels on display for visitors to enjoy. It was the decision of the Advisory Committee to Flagstaff Hill to have Rowitta demolished in April 2015 due to extensive deterioration. Items associated with the Rowitta continue to be held in Flagstaff Hill Maritime Village’s Collection.The photograph of the passenger ferry S.S. Rowitta.is significant for its association with Tasmanian history from the early to mid-1900s. It is also connected to the history of the Rowitta, which was a large exhibit on display at Flagstaff Hill Maritime Village from the museum’s early beginnings until the vessel’s end of life 40 years later. The Rowitta represents the importance of coastal traders to transport, trade and communication along the coast of Victoria, between states, and in Australia before rail and motor vehicles. The vessel was an example of a ferry built in the early 20th century that served many different roles over its lifetime of over 100 years. Black and white photograph of the steamship S.S. Rowitta at Charles Street Wharf, Launceston. It shows the vessel docked at the Charles Street Wharf in Launceston. Smoke is coming from its funnel and there are people on board. There is a handwritten inscription on the top edge of the photograph. The vessel was built in 1909 by Purdon & Featherstone, Hobart. Blue-green handwriting on top left margin "ROWITTA AT LAUNCESTON"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph, s.s. rowitta, charles street wharf,, launceston., purdon & featherstone, rowitta, tarkarri, speculant, purdon & featherstone of hobart, passenger ferry 1909, sorrento

This afternoon dress belonged to Clara Johnstone Miller (nee Bell, 1866-1910). Clara was the only daughter of Mr James Bell, a councillor of the Shire of Leigh (today a part of Golden Plains Shire) and owner of Woolbrook Homestead in Teesdale, near Geelong. In 1888, Clara married prominent businessman, racehorse owner, racing identity and pastoralist Septimus Miller (1854-1925). Septimus was the sixth of seven children born to Henry 'Money' Miller and Eliza Miller (nee Mattinson). 'Money' Miller was a well known financier and politician and reputedly one of Australia's wealthiest people in his time. In 1889, Clara and Septimus moved into the house 'Cantala' in Dandenong Road, Caulfield. They had one child, Gwendoline Stewart Miller, who died in 1902 at the age of thirteen of diabetes - a largely untreatable condition at the time (insulin would not be discovered until 1921). Clara died in 1910, aged only 44. Septimus subsequently married Helen (nee Henderson), with whom he had a son, Ronald (1915-1990). The Millers were buried in the Brighton General Cemetery in a large Gothic-style vault. Upon Clara's death, Septimus sent much of her clothing and Gwendoline's to her mother Mary Bell. Some of these items were passed down to two of Clara's nieces, Miss Mary Bell and Mrs Lois Lillies, who donated them to BHS around 1973.A salmon (pale orange pink) corded silk afternoon dress with orange beaded embellishments, consisting of a bodice (.1) and skirt (.2) from c.1890. The bodice features a high standing collar with triple pleated bone silk chiffon trim along the top line, under the chin. This same chiffon is also secured in two pieces gathered and secured under the collar and and at the waist adding volume over the bust line and partially obscuring the jacket closing. The chiffon is secured at the side into the main fabric of the bodice by the beaded embellishment. The pink seed beads are sewn in lines of five beads one after the other creating a diagonal design that tapers from the shoulder to the waist. The bodice is boned around the front and back and secured down the centre font by nineteen hook and eyes and additional cotton tapes. Further beading details the bottom centre front and base line of the bodice. The shoulders have been repaired with replacement fabric to match, from our records it appears that the repair work was performed in circa 1974 but no record exists of the original shoulder design and if the repair was an exact copy of the original. The repaired shoulders feature a small frill around the shoulder yoke and top of the arm. The sleeve is fitted and three quarter finishing just below the elbow. The base of the sleeve is also trimmed with the pink bead design and bone three pleat chiffon trim. The back of the bodice features shaped panels contouring the jacket neatly in at the waist and then splitting and splaying out over the fullness of the skirt. The skirt appears to have been floor or ankle length held at the waist by a wide waistband. The skirt openings have been altered from the original currently featuring two openings secured by press studs. The skirt is gathered to the waistband at front and back creating fullness. The lower part of the skirt features the same pink bead embellishment and additional beaded flowers and diagonal point edge detail.clara miller, woolbrook, septimus miller, henry 'money' miller, gwendoline miller, cantala, 1890s fashion, caulfield, brighton general cemetery

Published in "The Sun", Wednesday, August 11, 1976, pp 38-39 [Text of article:] A WINDOW ON THE PAST by Roger Sanders. A fascinating window has been opened on the early life of the Eltham district. It is a rare collection of 3,000 perfectly preserved glass plate photograph negatives. The collection is the work of the late Albert Jones, a Diamond Creek orchardist and amateur photographer. About 500 of the negatives have been printed and 100 are on display at Gallery 4, Eltham, as part of the Eltham Festival, which started on Friday. They capture in fine detail rural and village life around Eltham, Hurstbridge, Kangaroo Ground, Yarra Glen and Diamond Valley from 1900 to 1930. While the natural beauty of the district was painted in this period by Arthur Streeton (later Sir Arthur), Tom Roberts and Charles Conder, among others, photography was relatively new. Yet Albert Jones used the new medium to compile a weighty album of pioneers at work, at home, at sport and on holidays. He was at the first Yarra Glen race meeting, early Diamond Valley football matches and photographed soldiers from the district leaving for war. He photographed early gold mines, men with horses laying the Diamond Creek-Hurstbridge rail track and the arrival of the first steam train at Hurstbridge. He took his cameras on holiday around Victoria and the collection includes scenes from St. Kilda and Portsea and many country towns. The Jones collection of negatives was found by Mr A. J. "Ned" Spark, of Balwyn, under a house he bought from Mr Jones' widow. The plates almost went to the tip with a pile of rubbish before Mr Spark realised their potential value. Mr Spark, who is retired, will continue the identification and recording of the photographs when he returns from holidays. The exhibition of the Jones' photographs is open each afternoon until August 21 at Gallery 4, 1016 Main Rd., Eltham. [Captions of photographs included in article:] • The priceless collection of glass plate negatives were found under this house in Eltham [actually Wattle Glen], home of Albert Jones and his wife. • A quiet country pub - Panton Hills Hotel. • Teams of draught horses were used in the building of the Diamond Creek-Hurstbridge railway in 1910. • Chinaman Jimmy using a gold cradle in Wattle Glen Gully. • The photographer and orchardist Albert Jones. His work is on show as part of the Eltham Festival • St Kilda Pier – several of the houses are still standing, but the waterfront has changed dramatically since this was taken before 1920. • A picnic was a dressy affair at the start of the century – the women in this family group are decked in lace and pearls.Newspaper articlealbert jones, golden glen, wattle glen

Known as the Rosellas, the early Cheltenham Football Club sides began playing on a regular basis in 1890, and would travel long distances by steam train to play country teams, such as Ballarat where they would arrive at their destination, play the match, socialize then return to the station. Opposition players and supporters would give three hearty cheers on their departure. The Cheltenham home games were played on a paddock on the corner of Park and Charman roads in Cheltenham. In 1907 the Cheltenham progress committee made an application to the board of land works for land in Weatherall Road for recreational service to the public. That application was received and granted, then developed where Cheltenham Recreational Reserve now stands. The land in the early days was virgin bush and the response for voluntary help to clear the area was outstanding. Nearly all the market gardeners in the district along with horses, ploughs, axes, shovels completely cleared the area in three weeks. The Moorabbin council then leveled the playing area and erected a post and rail fence around the ground. Pine tree shrubs were then planted on the west side of the ground. The ground was opened in 1909 and the first Cheltenham side entered in the newly formed Federal Football Association along with seven other foundation members, Mordialloc, Mentone, Moorabbin, Frankston, Glenhuntly, Elsternwick, and Ellindale. The grand final for that year, 1909 was a hard encounter between Cheltenham and Ellindale with Cheltenham coming out victors, thus becoming the inaugural Federal Football Association premiers. Cheltenham went onto win five senior premierships in the Federal Football Association by the end of the 1920s, they won the flags in 1909, 1911, 1913, 1922 and 1925, with the late Percy Woff playing in all 5 premiership sides and was captain in 1922. 1928 saw the start of an outstanding career from our oldest living player Tom Connor. Cheltenham continued to win premierships in the 1920’s and 1930’s with juniors taking out the 1929 and 1933 flags, under the guidance of Woff, and that continued in 1934 when Cheltenham took out the 1st XVIII and 2nd XVIII premierships. Cheltenham produced its only Brownlow medallist in Peter Box who played in the late 1940s, before going to Footscray where he became a champion. The 3rd XVIII went through the season undefeated in 1974 winning the premiership, with Trevor Barker a key player before going to St Kilda the following year. The club won three senior premierships under coach Barry White in 1992, 1993 and 1995. ( from CFNC website 2019) Cheltenham Football Club was formed 1890 and succeeded in winning many Premierships as a member of the Federal Football Association, Outstanding players Peter Box Brownlow Medalist 1956 Footscay VFL, , Trevor Barker and Kevin Roberts St Kilda VFL.3x Black & White photographs of the players in the Australian Rules Cheltenham Football Club 1909, 1913 and 1946 extra photo of Peter Box Folio 10 MAV 01059a) CHELTENHAM FOOTBALL CLUB 1909 Cheltenham Football Club 1909. Back row: A Chandler, committee member; R. Robertson, back-pocket; J. Harris, half back flank; J Adams, ruck and forward-pocked; M. J. Monk, club president; L. Woff, back-pocket; W. Adams, ruck and back-pocket; P. Woff, rover and forward-pocket; A Monk, committee member. Middle row: W. Hore, back pocket and ruck; A. Towns, half-forward flank; W. Carson, full back; F. Andrews, captain-half forward flank; H. Butler, centre half back; J. Warburton, centre half-forward; A. Slater, half-back flank; F. Fisher, half-forward flank; C. Sherwood, trainer. Front Row: G Gouldthorpe, wing; H. King, full-forward; W. Johnston, ruck and forward-pocket; P Spears, rover and forward-pocket; F. Bichl, wing; A. Bichl. rover and forward-pocket; F. Butler, centre player. Courtesy, Lionel Seal. ( from CFC website 2019) b) CHELTENHAM 1913 PREMIERS c) CHELTENHAM -1946 / Back row - J. Fisher, G.Corrigan, N.Hocking, F.Virtue, R.Craven, L.Baker, M.Blundell / 2nd Row - J.Phillips, T.Connor, E.Hawkins, A.Blakely, G.Baker, A.Dark, J.Barker, D.Craven, J.Pickering, P.Cameron,/ W.Hicks, G.Hoskings, R.Beihl, A.Hubbard, R.Kier, C.Russell. / Front Row - Clark Taylor, J.Slade, N.Niel, J.Brooks, T,Butler, H.Hosking, C.Hacusler, E.Hornibrook, W.Briggs, B.Russell, L.Biehl, / W Ripponcheltenham football club, australian rules football, victorian football association, victorian football league, smith j l; smith mary ann, stanley helen, , chaff cutter, horse drawn carts, toll gates brighton, motor cars 1900, steam engines, early settlers, bentleigh, parish of moorabbin, city of moorabbin, county of bourke, moorabbin roads board, shire of moorabbin, henry dendy's special survey 1841, were j.b.; bent thomas, o'shannassy john, king richard, charman stephen, highett william, ormond francis, maynard dennis, market gardeners, vineyards, orchards, cheltenham, two acre village, holloway josiah,, woff percy, connor tom, box peter, barker trevor, white barry, browlow charles,

This clear, green tinged, Half Whirley (or Whirly) salad oil bottle has been handmade by a glassblower from 1870s-1910s. A bottle with such elaborate decoration would have been sought after as there was no need to decant the sauce into another jug or bottle to make it acceptable for table service. It is possible that this bottle was recovered from the Loch Ard, wrecked in 1878. A diver found the bottle on a shipwreck in the coastal waters of Victoria about 100 years from when it was made. The diver who found this bottle has recovered objects from several different shipwrecks between the late 1950s and early 1970s. A sizeable proportion of those objects was from the wreck of the famous clipper ship Loch Ard. This salad oil bottle may very well have been amongst that ship’s cargo. It is part of the John Chance Collection. A paper titled ‘Glass Bottles from the Loch Ard Shipwreck (1878): A Preliminary Study’ by Iain Stuart, (published in Australian Historical Archaeology, 9, 1991) included a study of twelve salad oil bottles from the wreck of the Loch Ard. The bottles were of this same Half Whirley design (half meaning that it was Whirley on the upper half but not on the lower half of the body), as well as the same colour and size. A diagram of one of these twelve bottles matches the bottle in our collection. The paper mentions that eleven of the twelve bottles have a number on their base, just as this one has. It is estimated that foreign and salad oil bottles totalled four percent of all of the bottles carried as cargo on the ship. The Half Whirley bottle has side seams from below the lip to the base, indicating that the bottle was made in a two-piece mould that included the heel, body, shoulder and neck. The fancy ‘whirly’ twist pattern and panelled sides would have been cut into the mould’s inner surface. The uneven thickness of the ridge around the base comes from adding a separately moulded and embossed base after the bottle was removed from the mould. The applied finish (mouth and lip) was also added to the bottle. The elongated bubbles in the glass are evidence of the glass being mouth blown into the mould, thus forming the shape and pattern from the inside shape of the mould. The bottle probably had a glass stopper with a round top and wedge-shaped shank with a ground surface, allowing the bottle to be re-sealed. The ring between upper and lower lip allows the closure to be sealed and anchored. The embossed numbers are either “133” or “833” and may represent a particular bottle pattern, manufacturer or filler. Although the bottle is not currently linked to a particular shipwreck, it is recognised as being historically significant as an example of bottles imported for use in Colonial Victoria in the mid-to-late 19th century. This whirley salad oil bottle is matches the whirley salad oil bottles recovered from the Loch Ard in the 1990s, adding depth of interpretation to the array of salvaged Loch Ard artefacts in Flagstaff Hill’s collection. The salad oil bottle is an example of the type of food condiment containers that were used in Victoria’s early days. The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks, including the Loch Ard, have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle; glass Half Whirley salad oil bottle, green-tinged, with some opalescence. Handmade, elaborately decorated bottle with round neck and base, and five-sided body. Applied double lip; straight upper, flared lower. The lower neck and shoulder have twisted spiral whirley patterns in the glass. The body tapers slightly inwards towards the base. It has five plain panels, one wider than the others. Side seams run from below the lip to the heel. The heel of the bottle is uneven in width, height and density where it joins the body of the bottle. The base is not level. Embossed characters on base. Glass has elongated bubbles towards the base and orange-brown sediment inside, on one side. Embossed "133" or “833” (the first character may be an “8”) flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, mouth blown, blown bottle, 19th century bottle, collectable, bottle, green glass, tinged green, two piece mould, food bottle, oil bottle, salad oil bottle, whirley, whirly, half whirley, condiment bottle

Bushfire Prevention Week was initiated by the Forests Commission in 1930. Victoria’s State Governor, Lord Somers, the Lord Mayor of Melbourne, Sir Harold Luxton and the newly appointed Minister for Forests, William Beckett launched the innovative campaign with great flourish to 250 invited guests at Melbourne’s opulent Town Hall on Monday 13 January 1930. Special church sermons had been held previously on Sunday. The packed program of gala events included lavish luncheon talks at city clubs, scholarly lectures broadcast on the wireless, together with daily articles in the Melbourne and country press about the pressing need for fire prevention. The slogan for the ground-breaking campaign was… Prevent Bush Fires – It Pays… The Shell Petrol Company of Australia supplied 15000 windshield stickers, the British Australasian Tobacco Company donated a large supply of stamp stickers, while many other companies drew attention to the campaign in their newspaper advertisements. The Victorian Railways and many city firms displayed special fire posters, while Bryant and May posted messages on their limited-edition matchbox covers which are now highly prized by phillumenists (i.e. matchbox collectors). The Postmaster General's Department franked postage stamps and letters with special bushfire slogans. While plainclothes police were secretly deployed to the bush to arrest potential arsonists. Canvas and enamel fire prevention signs were erected on most roads leading to forest areas. Letters to the Editor later appeared in many city and country newspapers extolling the virtues of Bushfire Prevention Week and urging for its continuation as an annual event. Although a new idea for Australia, the Canadian Forest Service had been running a similar program for a few years. The Forests Commission in its 1929-30 Annual Report, under the title of "Propaganda", noted with some glee… "One of the most gratifying features of the ''Week" was its low cost to the Government, the major part of the publicity material being donated by private firms." And so for the next 50 years until the 1980s, Bushfire Prevention Week continued unabated with the Forests Commission producing a series of coloured “Magic Lantern” slides which were manufactured by Alex Gunn and Sons in Collins Street Melbourne for screening at Val Morgan cinemas. The slides famously introduced the menacing character, Willy Wildfire, warning motorists to be careful with matches. Now known as Fire Action Week, it remains a key event in the annual calendar for both DEECA and the CFA and is still going strong... These canvas fire awareness signs were used right throughout the period of the Forests Commission until the mid 1980sBushfire awareness signProtect your forests from firebushfire, forests commission victoria (fcv), forest signs

Bushfire Prevention Week was initiated by the Forests Commission in 1930. Victoria’s State Governor, Lord Somers, the Lord Mayor of Melbourne, Sir Harold Luxton and the newly appointed Minister for Forests, William Beckett launched the innovative campaign with great flourish to 250 invited guests at Melbourne’s opulent Town Hall on Monday 13 January 1930. Special church sermons had been held previously on Sunday. The packed program of gala events included lavish luncheon talks at city clubs, scholarly lectures broadcast on the wireless, together with daily articles in the Melbourne and country press about the pressing need for fire prevention. The slogan for the ground-breaking campaign was… Prevent Bush Fires – It Pays… The Shell Petrol Company of Australia supplied 15000 windshield stickers, the British Australasian Tobacco Company donated a large supply of stamp stickers, while many other companies drew attention to the campaign in their newspaper advertisements. The Victorian Railways and many city firms displayed special fire posters, while Bryant and May posted messages on their limited-edition matchbox covers which are now highly prized by phillumenists (i.e. matchbox collectors). The Postmaster General's Department franked postage stamps and letters with special bushfire slogans. While plainclothes police were secretly deployed to the bush to arrest potential arsonists. Canvas and enamel fire prevention signs were erected on most roads leading to forest areas. Letters to the Editor later appeared in many city and country newspapers extolling the virtues of Bushfire Prevention Week and urging for its continuation as an annual event. Although a new idea for Australia, the Canadian Forest Service had been running a similar program for a few years. The Forests Commission in its 1929-30 Annual Report, under the title of "Propaganda", noted with some glee… "One of the most gratifying features of the ''Week" was its low cost to the Government, the major part of the publicity material being donated by private firms." And so for the next 50 years until the 1980s, Bushfire Prevention Week continued unabated with the Forests Commission producing a series of coloured “Magic Lantern” slides which were manufactured by Alex Gunn and Sons in Collins Street Melbourne for screening at Val Morgan cinemas. The slides famously introduced the menacing character, Willy Wildfire, warning motorists to be careful with matches. Now known as Fire Action Week, it remains a key event in the annual calendar for both DEECA and the CFA and is still going strong... These canvas fire awareness signs were used right throughout the period of the Forests Commission until the mid 1980sBushfire awareness signHelp Prevent Bushfiresbushfire, forest signs, forests commission victoria (fcv)

Bushfire Prevention Week was initiated by the Forests Commission in 1930. Victoria’s State Governor, Lord Somers, the Lord Mayor of Melbourne, Sir Harold Luxton and the newly appointed Minister for Forests, William Beckett launched the innovative campaign with great flourish to 250 invited guests at Melbourne’s opulent Town Hall on Monday 13 January 1930. Special church sermons had been held previously on Sunday. The packed program of gala events included lavish luncheon talks at city clubs, scholarly lectures broadcast on the wireless, together with daily articles in the Melbourne and country press about the pressing need for fire prevention. The slogan for the ground-breaking campaign was… Prevent Bush Fires – It Pays… The Shell Petrol Company of Australia supplied 15000 windshield stickers, the British Australasian Tobacco Company donated a large supply of stamp stickers, while many other companies drew attention to the campaign in their newspaper advertisements. The Victorian Railways and many city firms displayed special fire posters, while Bryant and May posted messages on their limited-edition matchbox covers which are now highly prized by phillumenists (i.e. matchbox collectors). The Postmaster General's Department franked postage stamps and letters with special bushfire slogans. While plainclothes police were secretly deployed to the bush to arrest potential arsonists. Canvas and enamel fire prevention signs were erected on most roads leading to forest areas. Letters to the Editor later appeared in many city and country newspapers extolling the virtues of Bushfire Prevention Week and urging for its continuation as an annual event. Although a new idea for Australia, the Canadian Forest Service had been running a similar program for a few years. The Forests Commission in its 1929-30 Annual Report, under the title of "Propaganda", noted with some glee… "One of the most gratifying features of the ''Week" was its low cost to the Government, the major part of the publicity material being donated by private firms." And so for the next 50 years until the 1980s, Bushfire Prevention Week continued unabated with the Forests Commission producing a series of coloured “Magic Lantern” slides which were manufactured by Alex Gunn and Sons in Collins Street Melbourne for screening at Val Morgan cinemas. The slides famously introduced the menacing character, Willy Wildfire, warning motorists to be careful with matches. Now known as Fire Action Week, it remains a key event in the annual calendar for both DEECA and the CFA and is still going strong... These canvas fire awareness signs were used right throughout the period of the Forests Commission until the mid 1980sBushfire awareness signbushfire, forests commission victoria (fcv), forest signs

Framed photo collage of Australian involvement in Vietnam.In the centre of the collage there is a bronze plaque wich reads: VIETNAM The Vietnam War was a military conflict that occurred in Vietnam, Laos and Cambodia from 1959 to 30 April 1975. The was was fought between the communist North vietnam, supported by its communist allies, and the government of South Vietnam, supported by the united States and other member nations of the Southeast Asia Treaty Organization (SEATO) The United States entered the war to prevent a communist takeover of South Vietnam as part of their wider strategy of containment. Military advisors arrived beginning n 1950. U.S. involvemeny escalated in the early 1960s and combat units were deployed beginning in 1965. Invollvement peaked in 1968 at the time of the Tet Offensive. Despite a peace treaty signed by all parties in january 1973, fighting continued. In response to the anti-war movement, the U.S. Congress passed the Case-Church Amendment in June 1973 prohibiting furtherdirect U.S. military intervention without Congressional authorization yet the U.S.was still heavily invested in the war until 1975, when North Vietnam captured Saigon. North and South Vietnam were reunified the following year. The war exacted a huge human cost in terms of facilities, including 3 to 4 million Vietnamese from both sides, 1.5 to 2 million Laotians and Cambodians, and 58,159 U.S. soldiers. AUSTRALIAN INVOLVEMENT: For a decade from 1962 to 1972, Australian forces were actively involved in the bitter war that tore Vietnam apart. they served with distinction, and in battles such as the decisive Battle of Long Tan they proved that they were more than a match for the Viet Cong.photo collage, australian involvement, southeast asia treaty organization (seato), tet offensive, u.s. congress, battle of long tan, saigon

The new Central Park was opened on Monday, 21 April 1930 by Mr. W.H. Everard, M.L.A. followed by a sports carnival. The Advertiser reported on Friday, April 25, 1930 that – “Perfect weather prevailed on Monday for the sports gathering in aid of the recently-acquired park near the railway station, and from every point of view the day was a success. The Central Park contains 9½ acres, and has the Diamond Creek on one side and the railway line on the other. It cost £760, of which the council contributed £500, and the citizens, are finding the balance. Already about £80 has been spent in levelling, and a pavilion has been erected by the footballers, who will use the ground for training until it is sufficiently, improved for matches. There is ample shade along the banks of the creek, where there were numerous picnic parties. The committee has already done some planting on the railway side of the park, and where the trees grow on the higher side, overlooking the arena, the natural stand will have shade, command a view of the events, and have the trees on the banks of the creek in the distance. There were between 600 and 700 people present, many in motor cars having a little difficulty in, finding their way under the aqueduct to the ground, but the council is at present effecting improvements to the road. A merry-go round was a source of pleasure to the children, and the Northcote Soldiers and Citizens Band under Bandmaster Gore, de-lighted everyone with their varied selections of good music.” “Cr. E. J. Andrew, president of the Park Committee, said it was the first function held in the park, and although the citizens have guaranteed £420 towards it, there is still some-thing owing. Mr. W. H. Everard, M.L.A., who can always be relied upon to attend any gathering which draws the people together, said that he and Mrs. Everard had great pleasure in being present to declare the park open. He congratulated the Eltham people upon their public spirit, and the new park would be more appreciated in years to come. The other park is a splendid one, but it is far away, and one is required close to the station, so that young people can have a day's enjoyment, without having to go far from the station. The trouble in Victoria is not having enough parks. The early settlers did a lot in getting park lands, but the present generation is not doing enough. Eltham people are entitled to the highest commendation for their action, and Cr. Andrew and the council are to be thanked for what they have done. What is wanted is ingress and egress so that people can get in comfortably. When he was motoring in his wife said, "Surely you are not going down that precipice," and he replied that he would go anywhere where the people were. In the future it will be the big centre of Eltham.” Reproduced on page 96 of 'Pioneers & Painters'This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg 9 x12.5 cm printsepp, shire of eltham pioneers photograph collection, eltham, eltham central park, automobile, central park, cricket match, pioneers and painters

Alonzo Box, of Oakleigh ,a nephew of William and Elizabeth Box who resided in 'Box Cottage' 1865 - 1914, married Mary Closter (Kloster), of Oakleigh, on June 12th 1918. Alozo's elder sister, Rebecca, sent a bolt of Chinese hand-embroidered silk from which this wedding dress was made. Rebecca Viloudakia, nee Box, was a missionary in China, and married to a Greek Silk Merchant. Alonzo Box, the 9th child of John and Martha Sheldrake Box , enlisted in the Army and landed at Gallipoli 25/4/1918. He was evacuated to Egypt and then sent to the battlefields of France and Flanders before returning home to Melbourne in February 1918. Rebecca Box, the eldest child of John and Martha Sheldrake Box, was in the first party of Methodist Missionaries to leave Australia for the China Inland Mission in 1890. During the Boxer Uprising 1900-1901 her Mission outpost was attacked but she escaped and was taken to Shanghai. She later married one of the rescue party Nicholas Viloudakia a Greek silk merchant .Australian Dress Register ID 573 12/5/2015 Following Henry Dendy's Special Survey 1841 pioneer settlers bought allotments of land in the area of Moorabbin Parish. Alonzo Box was the nephew of William and Elizabeth Box who bought the cottage on the 30acre allotment from an unknown pioneer settler in 1868 and resided there until Elizabeth's death in 1914. Alonzo Box served in the Army World War 1 1914- 1918 at Gallipoli, France and Flanders. Rebecca Box -Viloudakia was in the first party of Methodist Missionaries to leave Australia for the China Inland Mission in 1890 and was rescued during the Boxer Rebellion 1900-1901 and taken to Shanghai by her future husband.A cream two piece wedding dress made from a bolt of hand embroidered Chinese silk for the marriage of Mary Closter and Alonzo Box on June 12th, 1918. The bolt of Chinese silk was sent by Alonzo’s older sister, Mrs Rebecca Viloudakia, a missionary in China, who was married to a Greek silk merchant. The machine sewn dress was made by a dressmaker in Dandenong, Victoria. The jacket is blouson, with a front opening and is gathered at the waist by a band enclosing a drawstring. The collar is a sailor style that forms a slight / high V-shape front neckline. Four vertical roses are separated by three bands of lacework. The back of the jacket is plain silk. The right front of the jacket has a panel of embroidered roses, band of lacework and a facing fold that encloses 4 fastening presses. There are crocheted bobbles on the front representing buttons. The left jacket front also has the panel of embroidered roses, lacework and matching fold for the 4 fastening studs. The full length inset sleeves are gathered to a cuff that fastens with silk covered buttons. The sleeves have floral embroidery down the outside centre line. The left sleeve has an extra detachable cuff with embroidery on the flounce that matches the bottom panel of the skirt. It is held in position around the wrist by 4 white metal press studs. The skirt sits above the ankle. It consists of 5 panels slightly gathered at the back waistline with a left side placket 21cm with hooks and eyes and press studs. The waistband is lined with petersham and has 6 whalebone inserts. The front of the skirt has small pleats to fit the 3 decorated panels to the waistline. The front has 3 bands of lacework around the lower part. 3 panels form the centre front each embroidered with a different floral pattern. The back of the skirt is plain with 3 bands of lacework rising from the hem, which is sewn with spoke work stitch. The long waist sash/belt is plain silk with embroidered ends and 3 silk balls with crocheted caps suspended on 3 crocheted silk chains. It has a rose knot with 2 metal press stud fasteners. There are a variety of floral designs embroidered on the material including ‘corner motifs’ on the 2nd inner front panel of skirt. brighton, moorabbin, silk, box william, box elizabeth, box alonzo, box mary, kloster mary, closter mary, oakleigh, dandenong, chinese silk merchant, boxer rebellion 1900-1901, box rebecca, methodist china inland mission, viloudakia nichols, anzac landings, world war 1, gallipoli

This book includes the classic poem ‘Rime of the Ancient Mariner’ by Samuel Taylor Coleridge, the lines of which are set out in twelve pages of double columns. Each section of the poem is titled, such as 'Part the Sixth'. The twenty lithographed line drawings by J. Noel Paton RSA illustrate major events of the story and repeat the applicable verse below them. Most of the drawings have the initials of the artist and the lithographer on the bottom corners, below which are printed their names. The margins of the poem contain printed author's notes. Interestingly, the printer's name is added as a footnote on page 12, at the end of the poem. The book is included in the Rare Books collection of Flagstaff Hill. Its description closely matches one of two copies of the book held by the British Museum. There have been other publications of Coleridge’s poem over the years, based on various editions of his poem and illustrated by other artists. When this book was first published, Paton’s illustrations were available individually for the public to purchase. The author, Samuel Taylor Coleridge (1772-1834), was a notable late 18th to early 19th century English poet. He was the youngest of fourteen children. His father was a vicar as well as the master of a grammar school, with Samuel attended. Coleridge's longest poem, 'Rime of the Ancient Mariner', was written about 1797-1798 and tells of the experiences and adventures of a sailor. It was included in a collection of poetry titled 'Lyrical Ballads', jointly written with his friend William Wordsworth. The volume is considered the beginning of the Romantic era of British poetry. Coleridge acknowledges William Wordsworth in this poem, in ‘Part the Forth’ with the footnote “For the two left lines of this stanza, I am indebted to Mr Wordsworth. It was on a delightful walk from Nether Stowey to Dulverton, with him and his sister, in the autumn of 1797, that this poem was planned, and in part composed”. Sir Joseph Noel Paton RSA (1821-1901) is a well-known Scottish-born artist and painter of historical artwork, created the line illustrations in 1863, highlighting the main points of the poem. In the same year he also illustrated Charles Kingsley's 'Water Babies'. He was appointed Queen’s Limner for Scotland from 1866. The book was published in 1863 by the Art Union of London, an organisation whose members paid an annual subscription, and who received an annual prize of a work of art. The organisation was established in 1837 and membership quickly grew until the 1870's. Membership then slowly dropped off until the organisation was would up in 1912. Lithographer William Husband McFarlane, of Edinburgh, Scotland, created the black and white lithograph outlines from Paton’s drawings, illustrating many of the lines of the poem. The book of poetry and Illustrations was then printed by Neill & Company, Edinburgh, in 1763. The company was formed by Patrick Neill in 176. The company was known for inventing one of the early mechanical typesetting machines, which was used for the Company's publications as well as sold to other companies even into the early 1900s. The firm continued in business until 1973. This copy of the book was presented to Emily Taylor Smith by her father on September 16, 1867, four years after it was published. There is no further information available about Emily at this point in time.This Victorian era book of poetry with illustrated prints, the 'Rime of the Ancient Mariner' by Samuel Taylor Coleridge, is considered to be a rare book. The British Museum holds two copies, one of which is very similar in description. The book is significant for containing a poem written by the renowned British poet Samuel Coleridge, who acknowledges the contribution of a couple of the lines to his friend William Wordsworth. The book's significance is increased for being included in a collection of poetical works jointly written by Coleridge and his friend William Wordsworth, entitled 'Lyrical Ballads' and published in 1797. The printer of the book, Neill & Company, was known for pioneering an early mechanical typesetting machine. It’s significance also includes the collection of Victorian artwork within. Coleridge's poem is significant for being included in 'Lyrical Ballads', which is considered to signify the beginning of the Romantic era of British poetry. Book: large, burgundy linen covered, hard cover, with gold embossed title and images, landscape orientation. Title: Coleridge's Rime of the Ancient Mariner. Author: Samuel Taylor Coleridge Illustrator: J. Noel Paton, R.S.A. Publisher: Art-Union of London in 1863. Lithographer: W.H. McFarlane in Edinburgh, Scotland, 1863. Printer: Neill & Company, Edinburgh, Scotland Contents include the lines of a poem, with lithograph illustrations above applicable short verse. The cover and fly page have the same emblems. A personal inscription is hand written in nib pen inside the book.Printed: "COLERIDGE'S RIME OF THE ANCIENT MARINER" "ILLUSTRATED BY J. NOEL PATON, R.S.A." "ART-UNION OF LONDON, 1863" " W.H. McFARLANE, LITHOGr, EDINBURGH" "Printed by Neill & Company, Edingurgh" Emblems embossed on cover, and a repeat printed on fly page, include stars encircling a crucifix and a snake entwined around a cross bow with a branch in its mouth.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, coleridge's rime of the ancient mariner, rime of the ancient mariner, ancient mariner, samuel coleridge, j. noel paton, art-union of london, 1863, rare book, samuel taylor coleridge, art union of london, w.h. mcfarlane, william husband macfarlane, sir joseph noel paton, poem, emily taylor smith, 1867, romantic period, william wordsworth, lithograph, poetry, lyrical ballads, british romantic movement, literary work, neill & company edinburgh, j. noel paton rsa, mechanical typesetting, alexander neill fraser, mechanical typesetting machine

At the right of the photo is an apple orchard over the other side of Watery Gully creek. The house at the far end and middle building in the photo remain as of 2024, located at 205 Kangaroo Ground-Wattle Glen Rd, Kangaroo Ground between Pretty Hill Lane and Millers Road. https://maps.app.goo.gl/riyy56LsfEMz4w5W6 Reproduced in The Diamond Valley Story, Dianne H Edwards, The Shire of Diamond Valley 1979, p138 "Golden Glen, the home at Wattle Glen of photographer and orchardist Albert Jones. It was in one of these outbuildings that the hundreds of glass negatives of the Spark/Jones Collection werer found. Phot: Spark/Jones Collection" See Ref: EDHS_03112 A WINDOW ON THE PAST by Roger Sanders, The Sun, Wednesday, Auguist 11, 1976, pp 38-39 A fascinating window has been opened on the early life of the Eltham district. It is a rare collection of 3,000 perfectly preserved glass plate photograph negatives. The collection is the work of the late Albert Jones, a Diamond Creek orchardist and amateur photographer. About 500 of the negatives have been printed and 100 are on display at Gallery 4, Eltham, as part of the Eltham Festival," which started on Friday. They capture in fine detail rural and village life around Eltham, Hurstbridge, Kangaroo Ground, Yarra Glen and Diamond Valley from 1900 to 1930. While the natural beauty of the district was painted in this period by Arthur Streeton (later Sir Arthur), Tom Roberts and Charles Conder, among others, photography was relatively new. Yet Albert Jones used the new medium to compile a weighty album of pioneers at work, at home, at sport and on holidays. He was at the first Yarra Glen race meeting, early Diamond Valley football matches and photographed soldiers from the district leaving for war. He photographed early gold mines, men with horses laying the Diamond Creek-Hurstbridge rail track and the arrival of the first steam train at Hurstbridge. He took his cameras on holiday around Victoria and the collection includes scenes from St. Kilda and Portsea and many country towns. The Jones collection of negatives was found by Mr A. J. "Ned" Spark, of Balwyn, under a house he bought from Mr Jones' widow. The plates almost went to the tip with a pile of rubbish before Mr Spark realised their potential value. Mr Spark, who is retired, will continue the identification and recording of the photographs when he returns from holidays. The exhibition of the Jones' photographs is open each afternoon until August 21 at Gallery 4, 1016 Main Rd., Eltham. Photographs included in article: • The priceless collection of glass plate negatives were found under this house in Eltham [actually Wattle Glen], home of Albert Jones and his wife. • A quiet country pub - Panton Hills Hotel. • Teams of draught horses were used in the building of the Diamond Creek-Hursbridge railway in 1910. • Chinaman Jimmy using a gold cradle in Wattle Glen Gully. • The photographer and orchardist Albert Jones. His work is on show as part of the Eltham Festival • St Kilda Pier – several of the houses are still standing, but the waterfront has changed dramatically since this was taken before 1920. • A picnic was a dressy affair at the start of the century – the women in this family group are decked in lace and pearls.Stamped in purple ink on reverse within border "A.J. SPARK COLLECTION PHOTOS 1900 - 1930 PHOTOGHRAPHER LATE ALBERT JONES DIAMOND VALLEY. TEL: 83-3561"a.j. spark collection, albert jones, golden glen, shops, wattle glen

Anthropodermic Bibliopegy is the name given to the use of human leather to bind books. The name stems from the combination of the Greek root words, human (Anthropos), skin (derma), book (biblion), and fasten (pegia). The practice of creating anthropodermic books was popular throughout the 17th and 18th centuries. Most commonly, anthropodermic books are medical tomes, with the human leather taken from medical cadavers. Others were produced after criminal trials, with the criminal’s skin used to enclose the record of their own death sentences, creating a form of punishment that would surpass death. Other anthropodermic books contain poems or are religious texts. This book was written and printed in 1599 but most probably was rebound later when creation of anthropodermic books became more predominant. The book is a small tome of a religious nature containing the work of Bishop Thomas Bilson, who in a puritanical voice states that the primary argument articulated in this book is that “the metaphorical Calvinist interpretation of Hell as an exclusion from God was accurate then Christ's descent into hell after his crucifixion must refer to an actual existent hell as Christ was neither subject to sin nor able to be separated from the Divine.” The unusual cover of the book has led to many questions, the main being whether the book is covered with human skin. It was confirmed as such in 2014 with DNA testing undertaken by honours student Talanna Buckley at Federation University finding an 100% match to human DNA on the outside cover of the book. This is one of only two confirmed anthropodermic books in Australia, the other is housed at the National Library of Australia. Other forms of testing the leather of books have been found to be more accurate than DNA testing. For example, before DNA testing or PMF (Peptide Mass Fingerprinting) are undertaken many books have been identified as made from human skin through the close examination of the skins patterning. Hair follicles are the focus of the examination as certain patterns and sizes lend themselves to being human. However, many of these books have been proven to not be bound in human skin, the same can be said of books with inscriptions claiming them as anthropodermic. Peptide Mass Fingerprinting (PMF) testing has been found to be the most reliable way of confirming a leather bindings origin. This process involves the sampling of collagen-based materials, cutting the protein to gain specific amino acid combinations which form individual peptide sequences. Each mammal has an individual amino acid sequence in its collagen therefore its peptide mass combination is unique. This form of test can provide a more accurate outcome as collagen will be preserved for longer after the tanning process and will not be damaged in the same way DNA can be by the tanning process. DNA testing can also provide false positives as trace DNA from someone touching the book could be amplified and provide the reading instead of that of the leather itself. However, this book was tested with many controls as well as specific decontamination procedures in order to ensure that it was not trace DNA being tested. This book is historically and spiritually significant because it is a rare example of an early printed English Christian religious tract produced in Old English and Latin.. Its association with Thomas Bilson, who oversaw the final printing and publication of the King James Bible, is important. The covering of this book has been tested for human dna. Findings prove the book is covered with human skin, increasing the rarity of the object.420 page book with unusual leather cover. The book is written in Old English with passages in latin. There is a pressed petal between p.68 and 69. The covering of this book is made of human skin. The practice of binding books in human skin, also known as anthropodermic bibliopegy.Inside cover - James Hendy No 17 (Fu)gends Road Palmers Village Westminster. The gift of his mother Mrs Thomas Hendy. Some notes made through text eg p.112, and a passage written on the last page.religion, bible, edward lowe, edward lotos, thomas bilson, anthropodermic bibliopegy, james hendy, full redemption, religious, leather, wilson, winchester, jesus, puritanical, puritans, bungey, bilson, human skin, skin, human skin cover, human skin binding

FREDERICK THOMAS MYERS Born 20th February 1877 at Melton Married Martha Mary Watson 30th April 1908 at the Manse 101 Gore Street Fitzroy according to the rites of the church (Cong) – Congregational. Died Bacchus Marsh and District War Memorial Hospital 30th April 1963 Frederick lived in Melton all his life. Work Notebooks/ diary 1901 – 1905 No 1 1901 Shearing Tally Rockbank, 1901, 1902. Lists 3 Combs 6.0, 12 Cutters 5.0, Tab 1.6 Jongebloed account – Tobacco, matches sardines. Shearing shed 1904 Tuppal 20 Aug. Daily Tally of sheep shorn Total 1730 E C Shopping list - 6 pages of household items, Leader, Age and Weekly Times Tomato Sauce- recipe written in ink Toolern Road Hours worked 35 ½ Reverse order from back cover – Harwood 29th Aug 1902 Shearing Tally 1083 November 1902 - List of dates Mon- Sat. Nov 3rd - Fri Dec 5th E Chalmer. Tally of hours worked. Jan 1903 Thur 1st - 31st Toohey Keilor Road, Feb – March 14th Payment L75:4:9 J Walker April 1903 – 23rd 18 Cutters 7:6 5 Combs 10:0 2 Tab 3:0 Ticket 15:0 Total 1:15:6 Tucker 3:12:6 Other pages are calculations related to hours worked and amounts The notebook contains 26 pages with some blank and other torn out. It measures 2 ½ x 4 inches with a hard black cover. FREDERICK MYERS Workbook/ Diary No 2 Opening 5 pages – Gottfried Jongebloed account - paid 2/11/04 List of grocery and household items. E Chalmer -Pr Boots, 8:9 Tab 1:8 Leader 3’ Reverse order Eynesbury 7th Oct 1904 Shearing Tally 1635 Tucker payment L1:18:6 Tuppal 20th Aug 1904 Tally 1636 [ 4 weeks and 4 days] Feb 1905 Melton 1st – 13, Toolern Rd 14th , April Braybrook Rd. Melton town, G Hobbs Boundary Rd, Melton May G Hobbs 2 pages of food expenses and amount paid Simpson & Co – Butcher account and amount paid Mon 5th –July 22nd Toohey days and hour worked 34 yards Tuppal 20th Aug additional list 1735 Eynesbury 3rd Oct additional list 2093 Diagram 3 drawings in ink –a type of tool Nov 21 1904 List Dunmore Stn Orford Vic Barwidgee Stn Caramut Vic Wharparanna Stn via Tocumural N.S.W. Puckawidgee vis Aug Deniliquin N.S.W. Bundure Stn via Aug Jerilderie Trawalla Ballarat Oct Woorywooryte Oct Vic Yancannia Bourke July Pretty Tower Stn Beaufort November Size of Notebook 2 ¼ x 5 inches. WORK NOTEBOOK 1909, 1910 Wandook 17th Aug 1909. 21 days of shearing 1248 Total. Payment L14 ?? Boomanoomana 23 Sept 1909. 17 days shearing 1124 Total. L13.12.9 Eynesbury 20th Oct 1909. 17 days shearing 1587 Total L17. 13.0 Cobran Aug 13 1910 Studs Rams Total 3397 List of expenses includes 12 cutters, 3 combs, Union ticket, matches, tobacco stamps. Miller, J Egan. Eynesbury Oct 1910 Total 1467 Lal Lal Nov 21 Total 1172 For Backache Tincture of Gentian Compound one ounce Syrup of Rhubarb one ounce Liquid Barkola Compound one ounce Syrup of Ginger five ounce Dose a teaspoonful after each meal and one at bedtime John Collins, Woodside Via Yarram Yarram Mr Fisken Lal Lal Via Yendon Woodlawn Deniliquin 15th October Oct 12th 1911 Eucla Jarrett Barfold 21,000 7? Shearers Clark Moir Estate 10th Aug 1910-1911 Income amounts Shearing income. Mc Donald – thrasher Keating Toohey Cobran 1911 Studs and Rams 1793 Cobran 14th Aug per man 1500 Golf Hill 26th Sept per man 1900 Cobran 14th Aug Cut out 23rd Sept 2368 payment L21..19..4 [after expenses] Spring Plains Oct 2nd 1022 Total Barfold 2636 Total Chaffcutting J.B. Loft Feb 17th - 31 ½ hours John Minns Toohey Started Deep Creek Whelahan Ballarat Rd May 25th Mr J Walker Koohnamu Stn via Junta S.A. N Aitken Bringlibit via Kyneton Income list 1911 to 1912 and amounts earned Cobran L29..0..9 , Spring Plains Barfold L42..6..3, John Minns L4..8..0, J.B. Loft L3..0..6, D Whelahan L22.. 6..0, E Toohey L15.. 1..0, = total L123..2..6 John Minns 12..0, JB Loft 4.. D Whelahan L10..2..0, Barrie L11..5. Total Amount L145..5..6. Cobran 1912 15th Aug 1922 total Rams double. Expenses include 12 + 6 Cutters, 2+2+2 Combs, Political fund, Ticket, Mess Account, Hut Keeper, Hospital, Cook Total L11..8..3. Station Rd - L11..2..9. Golf Hill Sept 26 Cut out 31 Oct Total 2332 Lal Lal Nov 6th 19th 1912 6 days Total 1066 Contracts – Cameron, Barrie, McKay, Toohey, Stn Rd ? Cobran 1913 – Aug 14- 1913 Total 1621 Cobran 1621 Kyneton Park 515 Golf Hill 2144 Lal Lal 1066 Total 5,346 1913 – 1914 Income 5, 350 sheep Local contracts E. Barrie, Greig, Weir, S Barrie, Jongebloed, Burton, E Toohey, Total L133..3..0. Trench & Moran L19..8..0. End of front section of Notebook Work notebooks belonging to Frederick Myers local identities

John Glass Cramond 1829 and James Dickson 1831-1910 were founders of a large drapery store. Both were Scots and both came separately to Australia in 1852. Cramond initially came for gold but soon opened a store in St Kilda with a post Office attached and he was the first post master there. Dickson was a farmer’s son but became a draper and while he was unsuccessful on the Bendigo diggings and then returned to Melbourne where he met Cramond and soon after they opened a store on Lonsdale Street. They opened their business in Warrnambool in 1855 as a general store with groceries, drapery and ironmongery. Both partners were involved with the community and James Dickson was an original director of the Warrnambool Woollen Mill 1909 and the Warrnambool Cheese and butter factory. He also served on the committee of management of Warrnambool Base Hospital. This case was a wedding gift from James Dickson Jnr to his wife Mary Glass Cramond on the occasion of their wedding. This item has significance on a number of levels. It belonged to a member of one of Warrnambool’s earliest pioneering families and it marks the occasion when the two families of Cramond and Dickson were linked through the marriage of James Dickson jnr and Mary Glass Cramond. The firm played a significant part in the development of the city and traded for nearly 150 years. It therefore has social significance to Warrnambool. The item is well provenance with the case initialed and items within the case monogrammed. The case and its items are aesthetically quite beautiful as well as being typical of travelling or dressing cases of the more well to do, of the time. Mappin & Webb were manufacturers of some standing with the Mappin name appearing in manufacturing as early as 1775.The company has held a royal warrant as silversmiths since 1897 to the present day and as crown jeweler since 2012. Throughout this time, they have manufactured quality items for the luxury market. It provides an insight into the way ladies travelled and the items which they considered essential. This consists of a black leather with leather handle attached with brass fittings. Middle opening with side pocket on one side with metal catches. Inside has removable sections for holding the numerous containers and items belonging to the case. Interior of the case is dark blue satin. The items contained within the case are as follows: 321.1 Luggage case 321.2 Glass bottle rectangular, silver monogrammed lid, empty. 321.3 Tall round glass bottle, silver monogrammed lid, empty. 321.4 Small glass bottle with pink powder, silver monogrammed lid. 321.5 Small multi sided bottle with stopper and brass hinged lid. 321.6 Tall round bottle with silver monogrammed lid. 321.7 Tall thin multi sided bottle with brass lid. 321.8 Cream coloured monogrammed jar cotton wool inside. 321.9 Clothes brush rectangular cream back. 321.10.1Glove stretcher bone coloured .10.2 Case black leather. 321.11.1 hair comb cream with silver edge .11.2 Case black leather 321.12 Hair brush cream handle 321.13Spatula cream monogrammed 321.14 Mirror, silver round with handle. 321.15 Writing compendium .1 Case black leather .2 Pen with nib .3 Lead pencil .4 Navy satin covered blotting book 321.16 Inkwell glass bottle in small black leather case. 321.17 Match striker in leather case. 321.18 Mirror in black leather case rectangular 321.19 Small case for visiting cards. 321.20Sewing kit rectangular, contains threads and needles pkts x 3 321.21Container, small, hinged tortoise shell patterned. 321.22.1 Manicure set .2 Scissors small .3 Scissors large .4Corkscrew with Mother of pearl handle .5 Pocket knife with Mother of pearl handle .6Tweezers with Mother of pearl handle .7 File with Mother of pearl handle .8 Fine hook Mother of pearl handle .9 Bodkin .10 Bodkin 321.23 Hairbrush oval silver backed 321.24 Mirror silver handled hand mirror. 321.25 Hairbrush wooden handled with Mother of pearl inlay. 321.26 Cylinder, silver with removable lid and small phial of iodine labelled Felton’s pocket iodine. 321.27 Phial small glass with gold decorations. 321.28 Inhaler with insert 321.29 Thimble, metal. 321.30 Silver backed hair brush 321.31 silver backed clothes brushEngraved on side pocket: M.G.D. Mappin and Webb Sheffield and London. Some of the items are monogrammed as per the list above. A number of the glass bottles have lids hallmarked Mappin & Webb London and Sheffield makers stamped inside lid with hall marks history of warrnambool, cramond and dickson, mary glass cramond, dressing bag, woman's toiletry bag 1880

Set of 12 reports, photocopied onto heat sensitive paper from various magazines. Documents match the image numbers. .1 - 2 pages, from The Commonwealth Engineer, 1/10/1917 - "New Cars for the Melbourne Brunswick and Coburg Tramways", written by Straun Robertson. .2 - 2 pages, from The Commonwealth Engineer, 1/3/1919 - "Double Bogie Combination Tram Car - St Kilda Brighton Electric Line". .3 - 2 pages - Electrical Engineer - 15/6/1924 - "One Man cars for Melbourne and Geelong Vic. The Brill Birney Safety Car" .4 - 1 page - Electrical Engineer - 15/11/1925 - "Standard Car for Melbourne Tramways" - has sketch of W2 369. .5 - 2 pages - Electrical Engineer - 15/8/1927 - "New Bogie car for Melbourne Tramways" Y class. .6 - 2 pages - Electrical Engineer -15/3/1936 - "Tramcar of New type for Melbourne - Large car for Two-man or One-man operation" - Y1 class .7 - 3 pages, The Electrical Engineer and Merchandiser - 15/3/1932 - "Modern Tramcars for Melbourne - Design for reduction of noise and construction with electrical Welding" W3 class. .8 - 2 pages, The Electrical Engineer and Merchandiser - 15/11/1933 - "New Tramcars for Melbourne" - has sketch of the W4 class tram. .9 - 3 pages, The Electrical Engineer and Merchandiser - 16/12/1935 - "Melbourne's Lates Tramcars, comfortable Accommodation and modern traction equipment" - W5 class .10 - 3 pages - The Electrical Engineer and Merchandiser - 15/3/1939 - "Improved Type Tramcar - advanced truck design, pneumatically operated doors, special lighting, acceleration 3pmh per sec." SW5 class. .11 - 3 pages - The Electrical Engineer and Merchandiser - 15/9/1950 - "Noiseless Tramcar - first Australian Vehicles - Bogies fitted have special noise reducing features - motor drive through bevel gears, dynamic braking" - PCC 980 (See also Reg Item 5601 for a similar report) .12 - 1 page - handwritten on the rear of a copy of item 11 - Editorial from the Oct. 1951 issue of same magazine looking at the rate of acceleration. Reprint of .7 added 30/7/2019, from papers ex Robert Green - in poor condition, has been folded, both left and right hand edges in multiple tears. The photos are good. Measures 282H x 220W.trams, tramways, mmtb, mbctt, new tramcars, vr, bogie trams, birney, x class, w2 class, y class, y1 class, w3 class, one man trams, w4 class, w5 class, sw5 class, pcc class, tramcar design, electrical engineering

Top photo: The property 'Golden Glen', home of photographer, Albert Jones. At the right of the photo is an apple orchard over the other side of Watery Gully creek. The middle building in the photo is still standing, located on Wattle Glen - Kangaroo Ground Road between Pretty Hill Lane and Millers Road (Melway 271 A6) but on the opposite side of the road. Bottom photo: The Wattle Glen General Store in this photo was located at the same intersection as the present Wattle Glen General Store (cnr of Reynolds Road and Kangaroo Ground Road) but on the diagonally opposite corner. [Comment from Valda via Victorian Collections June 11, 2018] "The addition to the store on the left, and the building at the back, were not part of the store/post office owned by the Keenan's. They were added by Mr and Mrs Alan (Janet) Frencham's in the ?mid-1950s." See also EDHS_03112: See Ref: EDHS_03112 A WINDOW ON THE PAST by Roger Sanders, The Sun, Wednesday, Auguist 11, 1976, pp 38-39 A fascinating window has been opened on the early life of the Eltham district. It is a rare collection of 3,000 perfectly preserved glass plate photograph negatives. The collection is the work of the late Albert Jones, a Diamond Creek orchardist and amateur photographer. About 500 of the negatives have been printed and 100 are on display at Gallery 4, Eltham, as part of the Eltham Festival," which started on Friday. They capture in fine detail rural and village life around Eltham, Hurstbridge, Kangaroo Ground, Yarra Glen and Diamond Valley from 1900 to 1930. While the natural beauty of the district was painted in this period by Arthur Streeton (later Sir Arthur), Tom Roberts and Charles Conder, among others, photography was relatively new. Yet Albert Jones used the new medium to compile a weighty album of pioneers at work, at home, at sport and on holidays. He was at the first Yarra Glen race meeting, early Diamond Valley football matches and photographed soldiers from the district leaving for war. He photographed early gold mines, men with horses laying the Diamond Creek-Hurstbridge rail track and the arrival of the first steam train at Hurstbridge. He took his cameras on holiday around Victoria and the collection includes scenes from St. Kilda and Portsea and many country towns. The Jones collection of negatives was found by Mr A. J. "Ned" Spark, of Balwyn, under a house he bought from Mr Jones' widow. The plates almost went to the tip with a pile of rubbish before Mr Spark realised their potential value. Mr Spark, who is retired, will continue the identification and recording of the photographs when he returns from holidays. The exhibition of the Jones' photographs is open each afternoon until August 21 at Gallery 4, 1016 Main Rd., Eltham. Photographs included in article: • The priceless collection of glass plate negatives were found under this house in Eltham [actually Wattle Glen], home of Albert Jones and his wife. • A quiet country pub - Panton Hills Hotel. • Teams of draught horses were used in the building of the Diamond Creek-Hursbridge railway in 1910. • Chinaman Jimmy using a gold cradle in Wattle Glen Gully. • The photographer and orchardist Albert Jones. His work is on show as part of the Eltham Festival • St Kilda Pier – several of the houses are still standing, but the waterfront has changed dramatically since this was taken before 1920. • A picnic was a dressy affair at the start of the century – the women in this family group are decked in lace and pearls.Roll of 35mm colour negative film, 4 stripsKodak Safety 5035albert jones, golden glen, shops, wattle glen

Beni Carr Glyn Burnett (also known as B. C. G. Burnett or Beni Burnett) was born in 1889 to missionary parents in Mongolia. When he was 15 years old he began training as an architect with a firm in Shanghai. He worked in Singapore, Japan and China before moving to Australia around 1933. In 1937 he was appointed as the Commonwealth principal architect in the Northern Territory. He went on to design a series of houses for senior public servants and military personnel which became very popular as they were specifically designed for the tropics - incorporating louvres, high ceilings and good ventilation. When Darwin was bombed in February 1942, he was evacuated to Alice Springs where he continued to work as an architect. He also became a Magistrate and Coroner in Alice Springs. In later life he was well known for sketching clientele in public bars. He died in 1955. Beni Burnett was living in Sydney in 1933 when he produced these three artworks. There were several photography firms operating in Sydney at this time who specialised in photographing ships and the shipping trade (e.g. Samuel J. Hood and William James Hall) and whose photographs were used by artists to produce ship portraits. Both of these photographers took photographs of the two ships in B. C. G. Burnett's watercolours. The "Magdalene Vinnen" was photographed by Samuel J Hood in a series of photos taken in March 1933. It was a 4 masted steel barque, built in 1921 in Kiel, Germany and for almost 80 years was the largest traditional sailing ship in operation. It was used extensively as a cargo ship. It sailed into Sydney Harbour on 27th Feb 1933, loaded with almost 16,000 bales of wool destined for Falmouth, England. In March 1933 (whilst in Sydney) the German Republic flag (on orders from Adolph Hitler) was lowered and replaced with the old monarchist flag which was then to be the official flag and beside it the Nazi flag was to be flown on all ceremonial occasions. It visited Australia again in 1935 with its cargo being wheat from Port Broughton, S. A. In 1936 it was renamed "Kommodore Johnsen" and in 1945 (after WW2) the ship was awarded to the Soviet Union as war compensation and renamed "STS Sedov". The "Winterhude" (originally called "Mabel Rickmers) was a three masted Finnish barque built in 1898 by Rickers - Werft Bremerhaven for use on the East India rice trade and later the South American nitrate trade. After WW1 it came under French control as war compensation. It was also sold several times and at one stage was called "Selma Hemsoth" but in 1925 it was bought by Gustaf Erikson who restored the name "Winterhude" and the vessel became a regular transport in the Australian wheat trade. In 1944 it was sold to the German navy before being taken over by the British at the end of WW2. It was photographed in Sydney by William James Hall in 1931 on its way to Port Lincoln, South Australia to load wheat for Europe. The third ship depicted by B. C. G. Burnett is a pen and wash sketch labelled "The White Ship" and exactly matches a photograph pasted into his personal scrapbook which is in the "Library and Archives N. T.". The name of the ship is unknown and B. C. G. Burnett may have taken some artistic licence with the colouring as in the original photograph, the ship had a dark hull.This set of three small artworks is significant as examples of shipping (particularly the use of sailing ships) that were still being used as late as the 1930's in Australia. They are also important because their creator (B. C. G. Burnett) went on to become a well-known public figure in the Northern Territory in the late 1930's due to his innovative approach to designing homes for the tropical climate.A set of three artworks by B. C. G. Burnett of sailing ships in Sydney Harbour. They are all on rectangular watercolour paper with small diagonal edges at each corner. Painting 1 is a watercolour painting of a sailing ship called "Magdalene Vinnen". It shows a 4 masted barque with a blue and red steel hull in full sail heading towards the viewer. The painter's name (B. C. G. Burnett) and date (1933) are written on the bottom left-hand corner of the painting. Painting 2 is a watercolour painting of a sailing ship called "Winterhude". It shows a 3-masted barque with a blue and red steel hull in full sail heading away from the viewer. A small figure can be seen at the wheel at the rear of the ship. The painter's name (B. C. G. Burnett) and date (1933) are written on the bottom left-hand corner of the painting. Sketch 3 is an ink sketch of an unknown sailing ship moored to a dock. There are several small boats tied up near the sailing ship and a large steel freighter can be seen in the background. There is a faint wash of colour on parts of the sketch - the bottom of the ship, the masts and booms and the water at the end of the pier. The title (The White Ship) and the artist's name (B. C. G. Burnett) are written in ink in the top left corner. 1 (front) - "B. C. G. BURNETT. 1933 2 (front) - "B. C. G. BURNETT. 1933" 3 (front) - "THE WHITE SHIP / B. C. G. BURNETT"flagstaff hill maritime museum and village, warrnambool, great ocean road, sailing ships, ships, barque, magdalene vinnen, winterhude, beni carr glyn burnett, b. c. g. burnett, beni burnett, painting, watercolour painting, sketch, ink sketch, sydney harbour, architect, darwin, burnett house, photography, samuel j. hood, william james hall, sedov, kommodore johnsen, mabel rickmers

This deck cannon is believed to be a replica Carronade as it has no foundry mark, year of manufacture, proof marks or weight of carronade on it. However, its design matches the design of Carronades used in the early to mid 19th century. History: The carronade was designed as a short-range naval weapon with a low muzzle velocity for merchant ships, but it also found a niche role on warships. It was produced by the Carron iron works and was at first sold as a complete system with the gun, mounting, and shot altogether. Carronades initially became popular on British merchant ships during the American Revolutionary War. A lightweight gun that needed only a small gun crew and was devastating at short range was well suited to defending merchant ships against French and American privateers.   Its invention is variously attributed to Lieutenant General Robert Melville in 1759, or to Charles Gascoigne, manager of the Carron Company from 1769 to 1779. In its early years, the weapon was sometimes called a "mellvinade" or a "gasconade". The carronade can be seen as the culmination of a development of naval guns reducing the barrel length and thereby the gunpowder charge. The Carron Company was already selling a "new light-constructed" gun, two-thirds of the weight of the standard naval gun and charged with one-sixth of the weight of the ball in powder before it introduced the carronade, which further halved the gunpowder charge. The theory of its design was to use less powder and had other advantages that were advertised in the company's sales pamphlet of the time, state. The smaller gunpowder charge reduced the barrel heating in action, also reduced the recoil. The mounting, attached to the side of the ship on a pivot, took the recoil on a slider, without altering the alignment of the gun. The pamphlet advocated the use of woolen cartridges, which eliminated the need for wadding and worming, although they were more expensive. Carronades also simplified gunnery for comparatively untrained merchant seamen in both aiming and reloading that was part of the rationale for adopting the gun. Other advantages promoted by the company were. The replacement of trunnions by a bolt underneath, to connect the gun to the mounting, reduced the width of the carriage that enhanced the wide angle of fire. A merchant ship would almost always be running away from an enemy, so a wide-angle of fire was much more important than on a warship. A carronade weighed a quarter as much as a standard cannon and used a quarter to a third of the gunpowder charge. This reduced charge allowed Carronades to have a shorter length and much lighter weight than long guns. Increasing the size of the bore and ball reduces the required length of the barrel. The force acting on the ball is proportional to the square of the diameter, while the mass of the ball rises by the cube, so acceleration is slower; thus, the barrel can be shorter and therefore lighter. Long guns were also much heavier than Carronades because they were over-specified to be capable of being double-shotted,(to load cannons with twice the shot, for increased damage at the expense of range). Whereas it was dangerous to do this in a carronade. A ship could carry more carronades, or carronades of a larger caliber, than long guns, and carronades could be mounted on the upper decks, where heavy long guns could cause the ship to be top-heavy and unstable. Carronades also required a smaller gun crew, which was very important for merchant ships, and they were faster to reload. Additional notes: Cannon cast in England, Wales and Scotland had their imperial weight chiselled or engraved in the format of 4-2-0 on the bottom of the cascabel, indicating the weight of the cannon as 4 hundredweight, 2 quarters and 0 pounds. Since a hundredweight equals 112 pounds and a quarter weight is 28 pounds the total weight is 504 pounds or about 228 kilograms. The small bore replica carronade and carriage is part of a collection of nineteenth Century Flagstaff Hill Guns and cannons, and is a representation of carronades used from the early 18th up to the 1850s on merchant and military ships particularly the British Royal Navy until 1850. This example is not significant in the historic sense but demonstrates the type of artillery used aboard vessels of the time for protection & offensive military actions. Cannon, cast iron, small smooth bore cannon on the stepped wooden carriage with wooden wheels. It appears to fire a 12-pound cannonball. The Cannon barrel can have its elevation adjusted via a sliding sloped block at the rear of the cannon. Gun carriage has loops for locating and holding the carriage in position with the use of ropes. It is believed this carronade is a replica of a mid-to-late 19th-century Carronade cannon.Cast into metal; [Royal emblem of Queen Victoria (VR "Victoria Regina")]warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, cannon, naval cannon, cannon on carriage, 19th century cannon, fortifications, smooth bore cannon, 12 pounder, carronade, artillery, replica, deck cannon, cannon in carriage, ship cannon

Three Boxes of Glass Plate Negatives and six black and white photos. 1. Box 1 Eight whole plate negatives of Pall Mall, Bendigo. Copies from original photos, or negatives made by the Army Survey Regiment stationed at Fortuna Villa. The original photos were taken by Alan Fox in 1857 and are in the State library of Victoria - currently being scanned. 2. Box 2 Fourteen half plate glass negatives collected from Bartlett's (Vincent Kelly) studio, Pall Mall, Bendigo by donor. Many other negatives went to the State Library of Victoria - currently being scanned. 11072.1j In front of the Health Inspector's Office Maybe at the Bendigo Town Hall 11072.1k Group of men and Children, and dog at a cricket match at the side of a sports pavilion. 11072.1l Group of men, maybe a team of runners. 11072.1m Unknown Woman 11072.1n Child in clothing with Kentish Flour sew-ons and hat with wheat on the top. 11072.1o Horsefall Girls 28/3/04 11072.1p Mr W Kim Ah Hoy, 22/12/02 11072.1q Mr W Kim Ah Hoy, 19/4/1903 11072.1r Mr Ah Gay, re-sit 19/11/1903 11072.1s Mr Ah Gay and one other, 19/1/1903 11072.1t Mr Ah Gay, re-sit 19/11/03 11072.1u Mr Ah Gay, re-sit 19/11/1903 11072.1v Miss Cohn, 6/7/1911 11072.1w Mr Robinson, 31/3/04 3. Box 3 Bendigo Railway Station and Encroachments - Nine Quarter glass lead Plates in a box labelled "Kahland Collection. Content railway station, locomotives and signal box, Bendigo Railway Station. 11072.1a Bendigo Railway Station from the Mitchell Street Bridge 11072.1b Bendigo Railway Yards 11072.1c Steam Engine A545 11072.1d Train coming into Bendigo - Thistle St mines on the left, Golden Square on the right 11072.1e Bendigo Station from the Myrtle St Bridge 11072.1f Bendigo Railway Yards 11072.1g Engine House Bendigo Station 11072.1h Bendigo Railway Yards 11072.1i Signal Box Bendigo Railway Station 4. Six black and white photos printed taken by Allan Doney - currently being scanned. 11072.1af Bendigo Arcade Pall Mall next to Myers. 11072.1ag Easter 1955 Junior Fire Brigade pulling fire cart with portrait of Queen Elizabeth 2 on the corner of Park Road and Bridge Street. 11072.1ah School of Mines Float Easter procession 1954. 11072.1ai Hustlers Terrace Bendigo 11072.1aj Limerick Castle Hotel Williamson St Bendigo 11072.1ak Christian Science Society 15 MacKenzie St., Bendigo, on the left at 11 MacKenzie St., formerly "Legacy House", now the Bendigo Historical Society. On the extreme left is the rear of the Princess theatre in View St. photos, bendigo, bendigo railway yards, mike butcher collection

This gas lamp light and stand came from the original manufacturer in Melbourne. Gas street lights such as this one were used in Melbourne from the mid-19th century. The lights enabled safer after-dark travel for pedestrians and vehicles and were a deterrent to crime. A lamp lighter was employed to keep the lamps lit, sometimes with little success due to weather conditions and the pranks of youths. WARRNAMBOOL Gasworks In Warrnambool prior to 1874 there were about twenty rare, individually lit street lights in Warrnambool, each with its own supply of kerosene. These lamps were in the central business area of Timor, Koroit and Liebig Streets. The Warrnambool Gas Company Ltd. was registered as an incorporated company in 1873. It was a private, locally owned business. It was located at 209-215 Merri Street, Warrnambool, on the land, which is just west of the later-built railway station. The first managers of the Gas Company lived in a substantial stone house on site, but later the managers lived in a residence in Henna Street between Merri and Timor Streets. The original home, which still stands, became a residence for the Railway Station Master from about 1890. In August 1874 the construction of the gasworks was complete and at the end of that month gas was supplied to all of the existing lamps in Warrnambool for the first time. The Warrnambool Gas Company wound up in 1880-1881 and was purchased by the Warrnambool Borough Council with money raised by a loan – the Borough’s first ‘loan transaction’. The Council established a piped network to supply gas to other street connections. The gasworks were privatised and upgraded in 1952. In 1972 the town supply was converted to liquid petroleum gas and by the early 1980s the gasworks were closed down. In 1986 Warrnambool was supplied with natural gas from a site near Port Campbell. The Warrnambool gasworks supplied all street and shop lighting and most domestic lighting until 1923 when electricity was available for lighting. Bromfield Street in Warrnambool was named after the director of the gasworks, James Astley Bromfield (1823-1903). He arrived in Warrnambool from Worcestershire, England, in 1852 and was very active in the local council and community. Cockman Street was named after the first secretary of the gasworks in 1874, Walter Cockman (c.1821-1892). He was a Mayor and businessman. The second Manager, Luther Rodgers, worked for the gas company for about twenty years and both Rodger Place and Rodgers Road in Warrnambool have been named after him. LAMP LIGHTS IN MELBOURNE In the 1820s Melbourne's innkeepers were legally required to have a lamp light outside their premises from sunset to sunrise. This was the first instance of street lamps being used in Melbourne. In 1847 the first oil lamp was used in the city. In 1849 a gas lamp was installed on the Swanston Street Bridge and much of the city had oil lamps installed by then. In August 1857 the installation of street gas lamps began in Melbourne. They were welcomed for the much brighter illumination they gave. By 1860 there were 414 lamp pillars. The phrase was quoted often - "A light was as good as a policeman". The first gas burners used for street lighting were called 'fishtail' gas burners. These were replaced in the early 1900s by gas mantles. The City of Melbourne Gas Coke Company was formed in 1850 but due to the Gold Rush the manufacture and distribution of the gas supply was delayed until January 1856. By the 1890s the gas supplying the lights was supplied by three companies in Melbourne. In 1879 a football match was played at the MCG under electric lighting and gradually electric arc lights were installed inside and outside buildings in the city. Lamp lights such as the one in Flagstaff Hill’s collection were no longer needed. (References: John Lindsay re Lamp Light history 2019-01-29, Former Warrnambool Gas Company Limited, Victorian Heritage Database Report, Heritage Number 149746 https://vhd.heritagecouncil.vic.gov.au/places/149746/download-report ) The lamp light is representative of the lamps used in Melbourne from the mid-nineteenth century to light the streets at night and make Melbourne a safer city. The lamp is also representative of the gas street lighting in Warrnambool from the mid-1870s-1920s.Lamp light or gas light. Street light, one of the last gas street lights removed from Melbourne. (Reconditioned by Friends of Flagstaff Hill, 2013)flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, lamp light, gas light, gas lamp, street lamp, street light, gas street light, melbourne street lighting, warrnambool street lighting, melbourne gas street light, warrnambool gas company, warrnambool gasworks, james bromfield, walter cockman, luther rodgers, city of melbourne gas coke company

People pose for a photograph at the Eltham tennis court. Four men set to play a doubles match while a group of women look on. The sandy looking court (with weeds growing) is surrounded by wooden posts with wire mesh, in the middle of a park with mature gum trees in the background. The tennis court was situated in Eltham South at Bremner’s Flats (near present day Wingrove Park). The court is approximately the location of the present day small carpark. Main Road can be seen in the background from centre left and Mount Pleasant just above, the intersection just above the centre of court. The photo by J.H. Clark has been taken outside the court. Cross Ref SEPP_0721 of the Lady Premiers for 1909-1910 in which an umpires raised seating platform has been erected and the court surface is more refined with marked lines. The Eltham Lawn Tennis Club was formed on a Saturday evening, the 29th of October, 1898 at a meeting held at the Eltham State school. The meeting was large and representative. Twenty members were enrolled, and eight more have since been added. Officers and a committee were duly elected, and the Treasurer was instructed to purchase the necessary requisites without delay. By the end of the first week in November all the requisites were to hand, two courts were marked out, and practice begun. The formal opening of the Courts of this Club took place on Saturday, November 12, 1898, when 26 members and their friends assembled. After several sets had been contested an adjournment was made for tea provided by the members and nicely laid out under the shade of the trees. Afterwards, sets were again formed and the game was proceeded with in a lively spirit till nearly dark, when all dispersed having thoroughly enjoyed themselves during the afternoon. (Evelyn Observer, and South and East Bourke Record (Vic. : 1882 - 1902), Friday 18 November 1898, page 2) Reproduced on p89 of 'Pioneers & Painters' Photographer: J.H. Clark John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century. There are a couple of images of Eltham taken by Clark Bros. in the Eltham District Historical Society collection, one such example being Hunniford’s Post Office with Miss Anne Hunniford out front (EDHS_00140 - marked on the back of the print, Clark Bros., 25 Thomas St. Windsor), which would date this image between c.1894 and 1914. Other early images of Eltham taken by John Henry Clark are marked on the face “J. H. Clark Photo” and it is assumed these are dated between 1914 and 1930. It is noted that the Grant of Probate for John H Clark of Eltham South dated 5 April !957 (513/387) records his occupation as "X Photographer".This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negshire of eltham pioneers photograph collection, bremner's flat, eltham, eltham tennis court, j.h. clark photo, pioneers and painters, tennis court, wingrove park, 1905, eltham lawn tennis club, main road, mount pleasant road

This building is the earliest building remaining on site today. It was built in 1875 and was the second school building replacing the original 1856 building of stone walls with wooden shingles on the roof. That building needed to be replaced after the stone walls collapsed outwards. In August 1912 the school issued a requisition for remodelling of the school concerned with replacement of the existing windows with larger and wider windows to allow additional light into the school rooms and the erection of a wooden partition in the centre of the room. An extension to the building at rear and skylights in the roof were added in 1921. Only two low wooden stairs were originally provided to enter the porch. These were rebuilt by 1928. A steel mud grate was introduced 1930s/1940s and an infant shelter shed circa 1945. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p49 Eltham Primary School at Dalton Street, bustling with hundreds of students, has changed dramatically since it began in July 1855.1 A reminder of its early days is the building in local sandstone with a slate roof. First head teacher was David G Clark who was officially in charge from June 1856 until 1889.2 This school was not the settlement’s first. That was the Church of England Little Eltham School, west of Diamond Creek in 1853 and closed in 1872. In 1855 David Clark and his sister Catherine, opened what was to become the present school, with eight students. The school operated elsewhere in a temporary slab building, also used for worship by the Wesleyans,3 which allowed the wind and rain easy access. As well as having to endure such Spartan conditions, the students paid one penny a week for the privilege. But in June 1856 the patrons objected to the conditions, and they and the Clarks wrote to the National Schools Board, asking for a suitable school. They asked for a grant to buy land for a school, and to appoint the Clarks. As a result, inspector Mr A B Orlebar visited the school. He found 33 children aged from four to 13 and noted, among other things: ‘There is no attempt at classification, and this is owing chiefly to the want of books, every child bringing with it any spelling or reading book he or she may find at home,4 and partly to the master and mistress having little idea of anything but individual instruction.’ Of Mr Clark, Mr Orlebar said: ‘I cannot pass him as coming up to the full standard of a probationer. He promises however to pursue a course….if the commissioners take him into their service.’ Of Catherine: ‘She makes a promise similar to that of her brother. Pupils were orderly and the school seemed well conducted. I cannot therefore hesitate to recommend them both personally as probationers.’ Later at a public meeting, Mr Orlebar pledged the commissioners would give £150 for a school, if this was matched by local residents. The meeting decided the commissioners would acquire two acres (0.8ha) for the school site. The building, constructed with local sandstone, was completed in December 1857, measuring 40 feet x 16 feet (12mx5m) and 10 feet (3m) high. It was divided into two rooms – one for the school and the other for teacher accommodation. So the Eltham school was born, in an area regarded as ‘one of the poorest in the colony’. Excerpts from inspectors’ reports in the following years, show that in some ways school has not changed that much since then: ‘Discipline only moderate. Too much chattering!’ (1873); ‘Several slates were cleaned with saliva applied by the hand! Damp rags would be much nicer.’(1891).5 In 1863 the Board of Education took over the school giving it its current name and number, Eltham Primary School No 209. Overcrowding has dogged the school over much of its history. In 1875 overcrowding spilled part of the school into the local courthouse. But that year the sandstone building, which is still standing, was built for 100 children, costing £553 and replacing the National School building. Now, this section, even following renovations, still bears part of its original graciousness, with lofty timber ceilings, tall vertical windows and original floors.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, dalton street, eltham primary school, state school no. 209