The Ballarat phase of the battalion's history was formed as the Ballarat Volunteer Rifle Regiment on 9 August 1858 as a result of the Crimean War, coupled with the withdrawal of the British Army in 1857. In the years between its formation and the outbreak of War in 1914, the battalion went through a series of name changes as follows: 1854 – Earliest units of the RVR formed ( Melbourne Volunteer Rifle Regt. ) 1858 – Ballarat Volunteer Rifle Regiment (later Rangers) 1884 – 3rd Balarat Ballarat Infantry 1892 – 1st Battalion, 3rd Victorian Regiment 1898 – 3rd battalion, Victoria Infantry Brigade 1901 – 3rd Battalion Infantry Brigade 1908 – 1st Battalion 7th Australian Infantry Regiment 1912 – 70th Battalion (Ballarat Regiment) including Geelong 1912 – 71st Battalion (City of Ballarat Regiment) (From http://www.internationalhistoriansassociation.com/~internat/ihawiki/index.php?title=8th/7th_Battalion,_Royal_Victoria_Regiment)Frank Wright in the uniform of the 71st Infantryfrank wright, 71st infantry, 71st ergiment

The earthquake at Napier, also known as the Hawke's Bay Earthquake, took place on 03 February 1931 at about 10.45 am. There was no warning before the ground started to heave and roll in waves. It was not possible to stand without support, and the violent motion caused stone and brick buildings to collapse into the streets causing death and injury to hundreds who were going about there daily business. Fires started almost immediately, and with the water mains shattered, the fire fighters were powerless to stop or prevent the spread of the flames. Within twelve hours the greater part of the business area of Napier and its port was totally destroyed. As a result of the pressure which caused the upheaval, the levels of the town and the surrounding district have been altered. The town and the harbour were raised from five to seven feet, and many parts of the inner harbour became dry land. Small booklet of 18 pages with photographic comparisons of New Zealand's Napier region before and after the 1931 earthquake.napier, new zealand, earthquake, lovell-smith, stedman, boston, port ahururu, westshore, clive square, hawke's bay

On 7 March 1964 the Former Ballarat Gaol was opened to the public resulting in a large turnout. These photos were taken during the visit and show various sections, inside and outside, of the gaol. .1) Shows the ground queued up; .2) Front entrance, people starting to move inside; .3) Looking through the bars; .4) view of the curved wall with sentry's walk and guard's tower; .5) Looking through bars to stone wall; .6) Walking down the narrow steps from the top of the wall. This would have been used by guards; .7) Area showing the individual cell doors; .8) People in cell area. An upper level is shown. The gallows is on this level; .9) Stairs leading up to the gallows; .10) Turret above the cell block; .11) Cell area; .12) Cobbled area.Twelve black and white images taken at the open day of the Former Ballarat Gaol, held by the Ballarat Branch of the National Trust on 7 March 1964.ballarat gaol, ballarat school of mines, gaol, bluestone, national trust tours, entrance to gaol, sentry's walk, guard's tower, cells, gallows, stairs to gallows, cobbled area, geoff little

The dual-naming of the Wimmera Library took place in November 2019, and includes a name in local Wergaia language. The Horsham Campus is now known as “Werrunangity larr Wimmerata” (pronounced: Wherroon narn kitch – larr – wimmerartar) meaning “a quiet place in the Wimmera.” The official naming took place in the presence of Professor Helen Bartlett (Vice Chancellor who was joined by Aunty Jennifer Beer, Uncle Rob Fry, Geoff Lord (Horsham Campus Director) , Sue Owen (Library Director), Jasmine Graham (Manager of the Aboriginal Education Centre), Keith Caldwell (Facilities), Katrina Beer and artist Tanisha Lovett. This naming was the result of extensive teamwork and community consultation between local Aboriginal Elders, land councils, our Aboriginal Education Centre, as well as library and campus leadership. It is just one of the ways in which we are progressing our University’s Reconciliation Action Plan. Federation University librarians stand new artwork and signs for Werrunangita larr Wimmeratawerrunangita larr wimmerata, horsham campus, library, librarians, ann jardine, women

This stamp was part of a series of four stamps released by Royal Mail in 1999 under the subject 'The Patients' Tale'. From British Philatelic Bulletin, Volume 36 February 1999: "This 63P stamp (second step airmail letter rate) recalls techniques developed by British gynaecologist/obstetrician Patrick Steptoe (1913-88) and physiologist Robert Edwards. The popular term ‘test tube’ is inaccurate, the treatment - in vitro fertilization (ivf) involves combining egg and sperm in a glass dish with the resulting embryo being replaced in the womb. Initially developed to treat infertile women, it is now used to help men who produce few or defective sperm. It is estimated that about 7000 ivf babies have been born in Britain over the past five years." This object was retrieved from the mail room by and added to the collection in 1999 by College Archivist, Ros Winspear.A standard size white envelope with an 'AIR MAIL' sticker attached to from bottom proper RH corner, and a square grey, blue and black stamp in upper proper RH corner. The stamp is a Royal Mail Special issue stamp, beaing an image of a sculpture in a foetal position. Text on stamp reads, "63/ Millennium 1999/37/ Test tube baby/ A Gormley". The envelope is addressed to RACOG, and the sender of the envelope was 'FM McKellar/ 2 Norham End/ Norham Road/ Oxford OX205G/ United Kingdom.'in vitro fertilisation (ivf)

Blood was long thought to be the essence of life and the centre of the soul; it was believed to provide a person with physical strength and mental abilities. In 1677, Richard Lower and Jean Baptiste Denis, in separate experiments, attempted animal-to-man transfusions to treat mental disorders. They had mixed success but didn't appear to cure the ailment. In 1818, James Blundell became interested in blood transfusion after witnessing the many deaths resulting from post-partum haemorrhage. He began with experiments in dogs and soon established it was possible to transfuse using a syringe if he worked quickly. Blundell established that cross-species transfusions didn't work and were dangerous. The early part of the 20th Century saw major developments in blood transfusion. Blood groups were identified by 1907 and the Kimpton Brown vessel (see 3675) slowed coagulation. These transfusion needles were used to collect and administer blood for transfusions.Two glass tubes, one with straight and one with a curve at the base. The tubes, known as cannualae, were used to facilitate blood transfusions.transfusion, cannula, kimpton brown, blood, blood transfusion, blundell, lower, denis

This quilt came to the Running Stitch Group from a visitor at the 'SIO Great Exhibition of Victoria' held at the Museum of Victoria in 1985. This exhibition of historical ephemera about our state included many of the quilts collected by the group. After seeing the value of these utilitarian quilts, many visitors decided to donate their family quilts to the Running Stitch Group. Meg McNab was one such person who identified her step-grandmother as the maker and said the quilt was used in her fathers' family. It eventually came back into her family through her own mother who came to stay in later years. For the journey, the quilt had been used as packing material. Owing to its size, this quilt may have been made for a child. The stained pattern on the back has occurred as a result of rust marks from a wire wove mattress base.This is the front of the quilt. The rod pocket has been applied to the verso. This is the back of the quilt. the rod pocket has been applied to this side.quilting history, running stitch group, running stitch collection, mcnab, meg, quilting - history

The railway track was maintained initially by seven three-man gangs headed by a ganger. The gangers tended to be promoted into the Otways but many of their subordinate staff of repairers were local recruits. There were two track gangs at Beech Forest until 1954, so a large number of gangers and repairers was present over the years. World War 2 with petrol and rubber rationing provided a boost to the line. The 1939 bushfire killed a great deal of timber which had to transported out of the Otways, and the commencement of a vigorous wartime pulp wood traffic from Beech Forest meant that only the railway could efficiently handle the volume of traffic. By early 1940 not only the Garratt was running a daily train to Beech Forest but an NA goods train was scheduled to run at night. As a result the track gangs were also particularly busy at the same time.B/W. In snow at Beech Forest, a track gang on a trolley at the entrance to the Way and Works shed, comprising G. Newland, Ned Hewing, Bill Taylor, Jim Gowty, and Buck.beech forest; railways; g. newland; ned hewing; bill taylor; jim gowty; snow; track gang;

The goldfields resulted in the almost complete denuding of trees for access to the gold bearing land, for firewood and for the tanning industry. The need for wood further increased with the advent of deep quartz mining that required timbers for shoring up the shafts and tunnels. At some point in time it became necessary for timber to be carted long distances to fulfil the need. Between 1878 and 1884, the government set up 5 nurseries to try and rectify the shortage of native softwoods and encouraged the growth of State plantations and the thinning of trees to encourage growth of those remaining. 1907 - Creswick School of Forestry and Forest Management was started 1919 Establishment of the Forests Commission and the planting of many pine plantations 1924 Establishment of the first fire spotting towers Forest management tasks became a main project for "Susso" recipients during the Great Depression and again for internees during WWII.An 8 page document by David Bannear about the various industries of the Bendigo Goldfields and their effects on terraforming the local environment david bannear, central goldfields

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

This indenture once formed part of the City of Kew's Municipal Collection. Cr. W.D. Vaughan in his history 'Kew's Civic Century' (1960) records on page 194 that: "The original deed of conveyance of the land being all of Crown Portion 86, Kew, purchased by John Quick, James Venn Morgan, Samuel Derrick and William Derrick was presented by the Historical Society of Victoria on behalf of Mrs Fryer, a daughter of the later J.V. Morgan, to the [Kew] Council on August 5, 1941. Crown Portion 86, comprised all the land between Cotham Road and High Street to an alignment opposite the east boundary of Glenferrie Road. On it the first residential house was built by Mr. J.V. Morgan in 1852." Following the donation, the Indenture was surrounded by other original related text and explanatory notes and framed. The resulting framed documents are the largest framed objects in the collection.The Indenture and the accompanying contextual documents are some of the most historically significant manuscripts to have survived since the settlement of Kew in the 1850s. They provide a link to Kew's most famous pioneering families.Framed 1952 Indenture recording the sale of land in Kew to pioneering Kew families.james venn morgan, john quick, william derrick, samuel derrick, kew (vic) - history, kew (vic) - pioneers, samuel watts, kew (vic.) — municipal collection

The dwelling is representative of the development of the Georgian Revival style in the 1920s and 30s and its popularity amongst the upper-middle classes as a result of the work of William Hardy Wilson and Professor Leslie Wilkinson. It is of importance as a fine and largely intact designer/builder example of the Georgian Revival style, with American Georgian Revival influences. The dwelling embodies the principal characteristics of the style. American Georgian Revival influences are noted in the deep eaves with modillions, central broken pediment, brick quoins and presentation of the central porch. The garden wall, with arched opening, in the side setback appears to be an early or original landscape feature, based on the comparable brick work detail construction with that of the house. Considering this, it is the only early landscape feature extant which assists in providing some understanding of the original landscape layout of the property. (Criteria D and E) (Boroondara Planning Scheme)Colour photographic positive of 264 Cotham Road, Kew. The residence was constructed in 1931 for the Howitt family. 264 Cotham Road, Kew (HO813) is an individually listed building of significance under Amendment C294 of the Boroondara Planning Scheme. 264 cotham road -- kew (vic.)

The Falls Creek Huette was created as a result of the ideas, support and persistence of Charles Anton, Founder and First President of the Australian Alpine Club. It opened on the Queen’s Birthday weekend 1963, the same day as the Perisher Huette Work on prefabricating the walls commenced in Melbourne at the start of March 1963. Digging of the foundation trenches commenced on site on 19 March 1963. When the first snow fell on 20 March 1963 some of the construction was temporarily under snow. Fortunately, the site was not buried for long, although the deep mud that developed meant that every sheet of plaster along with all fittings and furniture had to be carried to the lodge from the main road. The first Falls Creek Huette had 14 beds in the bedrooms and an overflow area that could accommodate 6 more persons. It served the Australian Alpine Club until it was sold in 1971 and a much larger lodge was built on another site.These images are significant because they document the construction of an important building at Falls Creek, VictoriaImages from display at Falls Creek Museumfalls creek huette, falls creek lodges, charles anton, australian alpine club

Y2K / the year 2000 / The millennium bug / was commonly used to refer to a widespread computer programming shortcut that was expected to cause extensive havoc as the year changed from 1999 to 2000. Instead of allowing four digits for the year, many computer programs only allowed two digits (e.g., 99 instead of 1999). As a result, there was immense panic that computers would be unable to operate at the turn of the millennium when the date descended from "99" to "00". The Bug presented a formidable challenge to the problem-solving skills of local government officials. Lacking a cure-all that will work for every municipality, local officials must develop their own solutions to meet their community's unique needs. At the same time, the Y2K bug provided a once-in-a-millennium leadership opportunity for local officials who understood that they are the key to preparing their communities for any issues.Hard drive mounted in an alaminium case with glass window front and back.Presented to Greater Bendigo City Council / by Hon, Roger Hallam. MLC / Minister for Finance / and / Hon, Robert Maclellan. MLA / Minister for Planning and Local Government / on 21 June. 1999 / In recognition of being the first Victorian Council / to be Y2k compliantmillennium bug