The Megalithic Passage Tombs of Newgrange, Knowth, Dowth, Fourknocks, Loughcrew and Tara are located in the present day County Meath in Ireland's Ancient East. The Boyne Valley Mounds at Newgrange, Knowth and Dowth were built around 3200BC making them older than Stonehenge in England and the Pyramids of Giza in Egypt. Built by Neolithic farming communities about 5000 years ago, the passage tombs have clear astronomical alignments such as the Winter Solstice Sunrise at Newgrange and the Equinox Sunrise at Loughcrew. Judging from the splendour and magnificence of Newgrange and Knowth it is likely that these temples of the ancestors were places of astrological, spiritual, religious and ceremonial importance, much as present day cathedrals are places of worship where dignitaries may be laid to rest. There is a lively debate about whether these wonderful megalithic structures were built primarily as burial tombs, sacred temples or astronomical observatories. While passage tomb is the traditional description for Newgrange and similar structures, chambered cairn or passage mound are the descriptions favoured by those who consider the passage tomb description too narrow. The large stones surrounding and inside the Passage Tombs are decorated with Megalithic Art such as spirals, concentric circles, triangles, zigzags and images which have been interpreted as the sun, moon and the human face. Irish passage tombs tend to occur in clusters traditionally described as a Necropolis or cemetery. The Boyne cluster includes Newgrange, Knowth, Dowth and Townleyhall. The other great clusters in County Meath are on the hills around Loughcrew. The ancient Boyne Valley passage tomb mounds at Newgrange, Knowth and Dowth have been designated World Heritage Site status by UNESCO and attract 200,000 visitors per year. The sites and Visitor Centre are managed by the OPW (Office of Public Works). Newgrange is best known for the illumination of its passage and chamber by the winter solstice sun. The site is open to the public with controlled access to the passage and chamber. Tours of Newgrange start at the Brú na Bóinne Visitor Centre located near the village of Donore, Co. Meath. Knowth has two passages and is surrounded by seventeen satellite cairns. The site is open to the public; however there is no public access to the interior passages and chambers. Tours of Knowth also start at the Brú na Bóinne Visitor Centre. Dowth is the only one of the three large Brú na Bóinne Passage Tombs which is not accessible from the Visitor Centre situated on the south bank of the river. Visitors to Dowth must drive directly to the site on the north bank, a couple of miles from the Slane / Drogheda road. Fourknocks with its short passage leading into a wide pear shaped chamber is in similar style to Tombs in Portugal. Just inside the main chamber to the left of the entrance is one of the few representations of a human face from the Neolithic Period in ancient Ireland. Entrance to Fourknocks Megalithic Passage Tomb. Megalithic Art - Loughcrew, Co. Meath Loughcrew Cairns form the largest complex of Megalithic structures in Ireland. The Cairns contain symbolic engravings similar in style to Newgrange. Like other Passage Tombs in ancient Ireland, they have clear astrological alignments.Tara was the seat of the High Kings of Ireland in the first millennium A.D. however Tara is also the site of a Passage Tomb known as the Mound of the Hostages that was built about 2,500 B.C. knowth, newgrange, megalith, ireland, world heritage, neolithic

The Megalithic Passage Tombs of Newgrange, Knowth, Dowth, Fourknocks, Loughcrew and Tara are located in the present day County Meath in Ireland's Ancient East. The Boyne Valley Mounds at Newgrange, Knowth and Dowth were built around 3200BC making them older than Stonehenge in England and the Pyramids of Giza in Egypt. Built by Neolithic farming communities about 5000 years ago, the passage tombs have clear astronomical alignments such as the Winter Solstice Sunrise at Newgrange and the Equinox Sunrise at Loughcrew. Judging from the splendour and magnificence of Newgrange and Knowth it is likely that these temples of the ancestors were places of astrological, spiritual, religious and ceremonial importance, much as present day cathedrals are places of worship where dignitaries may be laid to rest. There is a lively debate about whether these wonderful megalithic structures were built primarily as burial tombs, sacred temples or astronomical observatories. While passage tomb is the traditional description for Newgrange and similar structures, chambered cairn or passage mound are the descriptions favoured by those who consider the passage tomb description too narrow. The large stones surrounding and inside the Passage Tombs are decorated with Megalithic Art such as spirals, concentric circles, triangles, zigzags and images which have been interpreted as the sun, moon and the human face. Irish passage tombs tend to occur in clusters traditionally described as a Necropolis or cemetery. The Boyne cluster includes Newgrange, Knowth, Dowth and Townleyhall. The other great clusters in County Meath are on the hills around Loughcrew. The ancient Boyne Valley passage tomb mounds at Newgrange, Knowth and Dowth have been designated World Heritage Site status by UNESCO and attract 200,000 visitors per year. The sites and Visitor Centre are managed by the OPW (Office of Public Works). Newgrange is best known for the illumination of its passage and chamber by the winter solstice sun. The site is open to the public with controlled access to the passage and chamber. Tours of Newgrange start at the Brú na Bóinne Visitor Centre located near the village of Donore, Co. Meath. Knowth has two passages and is surrounded by seventeen satellite cairns. The site is open to the public; however there is no public access to the interior passages and chambers. Tours of Knowth also start at the Brú na Bóinne Visitor Centre. Dowth is the only one of the three large Brú na Bóinne Passage Tombs which is not accessible from the Visitor Centre situated on the south bank of the river. Visitors to Dowth must drive directly to the site on the north bank, a couple of miles from the Slane / Drogheda road. Fourknocks with its short passage leading into a wide pear shaped chamber is in similar style to Tombs in Portugal. Just inside the main chamber to the left of the entrance is one of the few representations of a human face from the Neolithic Period in ancient Ireland. Entrance to Fourknocks Megalithic Passage Tomb. Megalithic Art - Loughcrew, Co. Meath Loughcrew Cairns form the largest complex of Megalithic structures in Ireland. The Cairns contain symbolic engravings similar in style to Newgrange. Like other Passage Tombs in ancient Ireland, they have clear astrological alignments.Tara was the seat of the High Kings of Ireland in the first millennium A.D. however Tara is also the site of a Passage Tomb known as the Mound of the Hostages that was built about 2,500 B.C. knowth, newgrange, megalith, ireland, world heritage, neolithic

The Megalithic Passage Tombs of Newgrange, Knowth, Dowth, Fourknocks, Loughcrew and Tara are located in the present day County Meath in Ireland's Ancient East. The Boyne Valley Mounds at Newgrange, Knowth and Dowth were built around 3200BC making them older than Stonehenge in England and the Pyramids of Giza in Egypt. Built by Neolithic farming communities about 5000 years ago, the passage tombs have clear astronomical alignments such as the Winter Solstice Sunrise at Newgrange and the Equinox Sunrise at Loughcrew. Judging from the splendour and magnificence of Newgrange and Knowth it is likely that these temples of the ancestors were places of astrological, spiritual, religious and ceremonial importance, much as present day cathedrals are places of worship where dignitaries may be laid to rest. There is a lively debate about whether these wonderful megalithic structures were built primarily as burial tombs, sacred temples or astronomical observatories. While passage tomb is the traditional description for Newgrange and similar structures, chambered cairn or passage mound are the descriptions favoured by those who consider the passage tomb description too narrow. The large stones surrounding and inside the Passage Tombs are decorated with Megalithic Art such as spirals, concentric circles, triangles, zigzags and images which have been interpreted as the sun, moon and the human face. Irish passage tombs tend to occur in clusters traditionally described as a Necropolis or cemetery. The Boyne cluster includes Newgrange, Knowth, Dowth and Townleyhall. The other great clusters in County Meath are on the hills around Loughcrew. The ancient Boyne Valley passage tomb mounds at Newgrange, Knowth and Dowth have been designated World Heritage Site status by UNESCO and attract 200,000 visitors per year. The sites and Visitor Centre are managed by the OPW (Office of Public Works). Newgrange is best known for the illumination of its passage and chamber by the winter solstice sun. The site is open to the public with controlled access to the passage and chamber. Tours of Newgrange start at the Brú na Bóinne Visitor Centre located near the village of Donore, Co. Meath. Knowth has two passages and is surrounded by seventeen satellite cairns. The site is open to the public; however there is no public access to the interior passages and chambers. Tours of Knowth also start at the Brú na Bóinne Visitor Centre. Dowth is the only one of the three large Brú na Bóinne Passage Tombs which is not accessible from the Visitor Centre situated on the south bank of the river. Visitors to Dowth must drive directly to the site on the north bank, a couple of miles from the Slane / Drogheda road. Fourknocks with its short passage leading into a wide pear shaped chamber is in similar style to Tombs in Portugal. Just inside the main chamber to the left of the entrance is one of the few representations of a human face from the Neolithic Period in ancient Ireland. Entrance to Fourknocks Megalithic Passage Tomb. Megalithic Art - Loughcrew, Co. Meath Loughcrew Cairns form the largest complex of Megalithic structures in Ireland. The Cairns contain symbolic engravings similar in style to Newgrange. Like other Passage Tombs in ancient Ireland, they have clear astrological alignments.Tara was the seat of the High Kings of Ireland in the first millennium A.D. however Tara is also the site of a Passage Tomb known as the Mound of the Hostages that was built about 2,500 B.C. knowth, newgrange, megalith, ireland, world heritage, neolithic

The Megalithic Passage Tombs of Newgrange, Knowth, Dowth, Fourknocks, Loughcrew and Tara are located in the present day County Meath in Ireland's Ancient East. The Boyne Valley Mounds at Newgrange, Knowth and Dowth were built around 3200BC making them older than Stonehenge in England and the Pyramids of Giza in Egypt. Built by Neolithic farming communities about 5000 years ago, the passage tombs have clear astronomical alignments such as the Winter Solstice Sunrise at Newgrange and the Equinox Sunrise at Loughcrew. Judging from the splendour and magnificence of Newgrange and Knowth it is likely that these temples of the ancestors were places of astrological, spiritual, religious and ceremonial importance, much as present day cathedrals are places of worship where dignitaries may be laid to rest. There is a lively debate about whether these wonderful megalithic structures were built primarily as burial tombs, sacred temples or astronomical observatories. While passage tomb is the traditional description for Newgrange and similar structures, chambered cairn or passage mound are the descriptions favoured by those who consider the passage tomb description too narrow. The large stones surrounding and inside the Passage Tombs are decorated with Megalithic Art such as spirals, concentric circles, triangles, zigzags and images which have been interpreted as the sun, moon and the human face. Irish passage tombs tend to occur in clusters traditionally described as a Necropolis or cemetery. The Boyne cluster includes Newgrange, Knowth, Dowth and Townleyhall. The other great clusters in County Meath are on the hills around Loughcrew. The ancient Boyne Valley passage tomb mounds at Newgrange, Knowth and Dowth have been designated World Heritage Site status by UNESCO and attract 200,000 visitors per year. The sites and Visitor Centre are managed by the OPW (Office of Public Works). Newgrange is best known for the illumination of its passage and chamber by the winter solstice sun. The site is open to the public with controlled access to the passage and chamber. Tours of Newgrange start at the Brú na Bóinne Visitor Centre located near the village of Donore, Co. Meath. Knowth has two passages and is surrounded by seventeen satellite cairns. The site is open to the public; however there is no public access to the interior passages and chambers. Tours of Knowth also start at the Brú na Bóinne Visitor Centre. Dowth is the only one of the three large Brú na Bóinne Passage Tombs which is not accessible from the Visitor Centre situated on the south bank of the river. Visitors to Dowth must drive directly to the site on the north bank, a couple of miles from the Slane / Drogheda road. Fourknocks with its short passage leading into a wide pear shaped chamber is in similar style to Tombs in Portugal. Just inside the main chamber to the left of the entrance is one of the few representations of a human face from the Neolithic Period in ancient Ireland. Entrance to Fourknocks Megalithic Passage Tomb. Megalithic Art - Loughcrew, Co. Meath Loughcrew Cairns form the largest complex of Megalithic structures in Ireland. The Cairns contain symbolic engravings similar in style to Newgrange. Like other Passage Tombs in ancient Ireland, they have clear astrological alignments.Tara was the seat of the High Kings of Ireland in the first millennium A.D. however Tara is also the site of a Passage Tomb known as the Mound of the Hostages that was built about 2,500 B.C. knowth, newgrange, megalith, ireland, world heritage, neolithic

This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. The Regent Parrot has two separate populations separated by the Nullarbor Plain: one in the Mallee regions of eastern Australia, and the other in the Wheatbelt region of southern Western Australia. Though the populations are widely separated, the birds of each region do not appear especially different, one being a little duller than the other. There are, however, other differences between the two populations, especially in how they have fared: eastern populations are endangered, while the western population is thought to be increasing. The Regent Parrot eats seeds of grasses and plants and cereal crops, especially wheat. It also eats buds and flowers, insect larvae, psyllids and lerps. It forages in pairs or small parties, usually on the ground, but also in the canopy of trees or in spilled grain on the ground. The Regent parrot is endangered in NSW and Vulnerable in VIC This Particular specimen has been mounted correctly.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.A slim parrot with a long, dusky tapering tail and back-swept wings. It is mostly yellow, with blue-black wings and tail. There is a prominent yellow shoulder patch and red patches in the wings. The bill is deep pink. It is mounted on a thin wooden branch that is attached to a wooden mount with the scientific name located Label: T.L. 430MM / W.S. 540MM / WT. 200GMS / SEX [female symbol] Mount: Polytelis / Anthopeplus / Regent Parrot taxidermy mount, regent parrot, taxidermy, animalia, burke museum, bird, parrot

The Scarlet Tanager is an American songbird of medium size with bright coloured plumage. They are commonly located in eastern North America and in northwestern South America. They can often be found within woodlands that have oaks. On occasion, the Tanager can be seen in suburban areas including parks and gardens. These birds are sociable and often join with other foraging flocks. They are carnivores (insectivores) and feed on insects including wasps, ants, moths, beetles, butterflies and grasshoppers. The numbers of these birds in America are declining due to exposure and starvation during the colder months. These birds can also die from collisions with man made objects which includes the TV and radio towers, buildings and cars. They also have high rates of predation and brood parasitism. However, at current the IUCN classifies this species as Least Concern and note that their numbers are stable. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Scarlet Tanager specimen stands perched on a wooden platform looking towards the ground. It has bright red/orange feathers on the main body and head with dark black feathers on the tail and wings. Overall, whilst retaining a bright appearance the bird has faded in contrast to it's original colouring This particular specimen has disheveled feathers and is missing one leg. The bill is short and pale and the specimen has been provided with glass eyes made in a dark colour. The specimen has two paper identification tags attached to the damaged leg.Swing tag: 114a / unnamed / catalogue, page 59 Cotton tag: A.4440 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, american, american birds, scarlet tanager, tanager, medium bird, small bird

The Scarlet Tanager is an American songbird of medium size with bright coloured plumage. They are commonly located in eastern North America and in northwestern South America. They can often be found within woodlands that have oaks. On occasion, the Tanager can be seen in suburban areas including parks and gardens. These birds are sociable and often join with other foraging flocks. They are carnivores (insectivores) and feed on insects including wasps, ants, moths, beetles, butterflies and grasshoppers. The numbers of these birds in America are declining due to exposure and starvation during the colder months. These birds can also die from collisions with man made objects which includes the TV and radio towers, buildings and cars. They also have high rates of predation and brood parasitism. However, at current the IUCN classifies this species as Least Concern and note that their numbers are stable. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Scarlet Tanager specimen stands perched on a wooden platform looking forwards in a raised position. It has bright red/orange feathers on the main body and head with dark black feathers on the tail and wings. Overall, whilst retaining a bright appearance the bird has faded in contrast to it's original colouring. The bill is short and pale and the specimen has been provided with glass eyes made in a dark colour. The specimen has two paper identification tags attached to the right leg.Swing tag: 143a / unnamed / catalogue page 59 Metal tag: A4439 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, american, american birds, scarlet tanager, tanager, medium bird, small bird

The Black Shouldered Kite is commonly found throughout mainland Australia in grasslands and other open habitats. It is a raptor (bird of prey) that will eat mice and other small rodents. The species is monogamous and will find a mate by the male giving food to the female while both are in flight. It is sometimes confused with the letter-winged kite though there undercarriages when in flight are very different with the letter-winged showing the letter W or M and the black shouldered kite showing black wing tips with white towards its belly area. The feathers of this species when alive and in the wild are more white than this specimen. The iris is usually red in mature birds so this specimen may not have been a mature bird as its eyes are brown. However, this is difficult to ascertain because it is also possible that the taxidermist who replaced the original eyes with the current glass ones provided a colour which was not accurate to the age/species of the bird. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Black Shouldered Kite has a white face and front of body with a grey posterior from the top of its head to its tail. It has black on its wings/shoulders. Its face is white with its eyes delineated by small black apostrophe like shapes from the inner eye to the top of the eye. The specimen stands on a wooden perch and has a swing tag tied around its right leg. Its eye colour is brown rather than red, indicating it is not a mature specimen.9. / Black Shouldered Kite / See Catalogue, page 3 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, black shouldered kite

Named in 1845 by Wilhelm Karl von Haidinger cerussite takes its name from the Latin cerussa, meaning 'white lead'. When viewed under certain lighting conditions cerussite gives of fire and rainbow-like colours (due to its high dispersion) and it is quite sought after by geological collectors for this very reason. Cerussite is usually found in the oxidised zone of lead ore deposits. It is a very common weathering product of galena and other lead ore minerals. It is a secondary mineral, meaning it forms as a result of the alteration of pre-existing minerals in the Earth’s crust. The presence of lead in cerussite makes it potentially toxic. Historically, it has been an important source of lead, which has numerous industrial applications, including in batteries, construction materials, and radiation shielding. Cerussite has a crystal structure that belongs to the orthorhombic crystal system. Its crystal structure is characterized by a three-dimensional arrangement of atoms in a repeating pattern. The crystal lattice of cerussite consists of interconnected lead (Pb) and carbonate (CO3) ions. This crystal structure is visible in the specimen. This specimen was found in Dundas (formerly Mount Dundas), a historical mining locality, mineral field and railway located on the western foothills of the West Coast Range in Western Tasmania. During the 1890s Dundas swelled in numbers however it is now lost in a temperate rainforest and its population is now 2. The present Dundas Extended mine, about 1.5 km east of Dundas is presently worked for specimen material.Faceted cerussite gems are considered rare and valuable, given the softness of the mineral. This item is not a faceted gem however its historical and scientific research potential give it significance; mined in an Australian township, this cerussite could shed light on the now lost history of Dundas and the mining that occurred there. Additionally, the uses of this mineral in historical industrial processes give it scientific significance. Such knowledge can add to understandings of the geographical and geological nature of Western Tasmania and allow for further study of Australian geological specimens. A small lead carbonite mineral with shades of cream, white and brown throughout, flaky shards of white at base. CERUSSITE / (lead carbonite) / Locality: Dundas, W. Tasmaniadundas, tasmania, cerussite, lead, orthorhombic, geology, minerals, mining

This is a set of 14 photographs of an All-Staff meeting held by the lake at the Army Survey Regiment, Fortuna, Bendigo on the 24th of April 1994. At this meeting CO LTCOL Duncan Burns announced that under Defence’s Commercial Support Program (CSP), the In-House bid submitted in 1993 by a team led by then CO LTCOL Bob McHenry was successful. The In-House bid proposed the establishment of an organisation based at Fortuna to carry out non-core production with 150 of the 373 Survey Corps positions converted to Defence civilian positions. 110 of the Defence civilian positions would be filled voluntarily by military personnel under Section 81B of the Public Service Act 1992 with the remaining 40 positions filled by Public Service recruitment. Other options offered to Survey Corps personnel were postings to 1st Topographic Survey Squadron in Enoggera, QLD, transfer to another Corps in the Australian Army or discharge from the ADF. The In-House bid also proposed 143 Survey Corps military positions to remain at Fortuna to perform ‘core strategic non-sovereign tasks.’ However, Army subsequently decided to abolish the 143 positions, disband 4th Field Survey Squadron, Adelaide, SA and lastly, the demise of the Royal Australian Survey Corp in June 1996. This period of the Army Survey Regiment’s history is covered in more detail in pages 160 to 162 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4.This is a set of 14 photograph of an All-Staff Meeting held at the Army Survey Regiment, Fortuna, Bendigo on the 24th of April 1994, to announce the success of Army’s Defence’s Commercial Support Program (CSP) In-house Bid. The Black and white photos are on photographic paper and scanned at 300 dpi. They are part of the Army Survey Regiment’s Collection. .1) to .3) - Photo, black & white, 1994. CO LTCOL Duncan Burns briefing Army Survey Regiment personnel and civilians. .4) to .5P - Photo, black & white, 1994. D-SVY COL Simon Lemon briefing Army Survey Regiment personnel and civilians. .6) - Photo, black & white, 1994. L to R: D-SVY COL Simon Lemon, unidentified civilian. .7) - Photo, black & 1994. L to R: SCMA WO1 Alan Hancox, unidentified civilian. .8) - Photo, black & 1994. RSM WO1 Phil Meagher. .9) - Photo, black & 1994. WO2 Rob Bogumil. .10) - Photo, black & 1994. Left Row: all unidentified. Centre Row L to R: unidentified (x2), SGT Jim Ash, CPL Steve Linane, CPL Andrew Quin, SGT Craig Kellet, unidentified. Back row L to R: unidentified (x2), SGT Barry Miller, SSGT Steve Winner, SPR Shane Campbell, SPR Karen McQuaigue, CPL Geoff Webb. .11) - Photo, black & 1994. L to R: CPL Warren ‘Waldo’ Shirley, COL COMDT COL Don Swiney MBE. .12) - Photo, black & 1994. L to R: LT Scott Seefeld, CAPT Bin Fashar Sutiman (Indonesian Army), LT Darren Radford, CAPT Gary Warnest, unidentified US exchange officer. .13) - Photo, black & 1994. L to R: unidentified, SGT Mark Host, LT Anthony Chamberlayne, unidentified (x2), Mr Tony Spurling. .14) - Photo, black & 1994. L to R: unidentified US exchange officer, CAPT Bill Griggs, CAPT Matt Jackson CSM, LT Darren Radford, unidentified, LT Scott Seefeld, SGT Mark Host, LT Gordon Muir, CAPT Gary Warnest, LT Anthony Chamberlayne, unidentified (x2), LT Colin Davidson.No personnel are identified. Annotated with date on folder sleeve.royal australian survey corps, rasvy, army svy regt, army survey regiment, fortuna, asr

This typewriter case allowed the Olivetti typewriter to be securely and free from contaminants to be totally mobile. The Olivetti typewriter company was founded in Italy in 1908 and became a leader in portable dependable typewriters.This particular typewriter contained is a Olivetti Lettera 22, oblique front stroke and portable manufactured after 1950. During the 1950s and 1960s was a time when British and European manufactured goods were still purchased by many Australian consumers. After the 1970s however, there was a shift, mainly in the cities, to Japanese made goods. The invasion of Japanese manufactured goods was relatively slower, especially in rural areas. The demand for long lasting and dependable merchandise was in the rural area still the most important criteria. The ease of setting up this typewriter and its compact mobility was its major benefit to trades people and travelling professionals, e.g. rural doctors, other medical professionals, accountants, lawyers and educators. This item(carrying case) facilitated the growing numbers of professional nomads requiring a relatively light office stationery package e.g. travelling novelist, writer, businessman and academics. This typewriter needed no electrical or battery power to operate it therefore the inside compartment did not require additional storage pockets . Outback Australia, where at this point in time, good available electrical power reticulation and battery power, was a scarce and therefore could not be totally measured as a highly efficient office environment. The protective carrying bag provided the only mobile way to operate in some business and home locations.Although this typewriter cover and its typewriter was purchased from a business in Penrith, Sydney, N.S.W., it is significant that it travelled easily to the Kiewa Valley, demonstrating the mobility of certain sections of the community. This typewriter cover protected the expensive typewriter it contained which was designed by an Italian industrial designer, Marcello Nizzoli, in line with the art deco style of the 1930s and the colour and flexibility of the vibrant 1950s. The underlying theme of manufacturing in the 1950s was to produce equipment that was more efficient than what was inherited from the earlier period of 20th century. Improvements were made to this Olivetti typewriter by Giuseppe Beccio by reducing the number of parts made from 3,000 to 2,000. Protection of such a typewriter was of an utmost necessity. The need for mobile expensive typewriters waned as less expensive typewriters became available. This was the major principle of the Japanese manufacturing juggernauts of the post World War II. Efficiency and low cost material was becoming prime factors in the success of rural industries from the 1960s. Competition from overseas producers was starting to affect rural industries and the removal of the large range of tariff protection, especially rural products, required not only a shift of farm management but a more efficient cost savings modus operandi.This is a semi hard cover (cloth over cardboard on inside, plastic over cardboard on outside), camel coloured outside and tartan cloth covered pattern inside the typewriter case. the case can be opened up by "unzipping" the top from the bottom halves of the case. For carrying purposes the case has two plastic covering metal handles with brass fittings. There are two stitched on brown reinforcement straps encompassing both sides of the case. The two reinforcing straps are brown in colour and a securing strap with a press button at one end to allow an extra securing tongue to keep the cover secure. The top inside of the case has a three quarters long paper compartment (flap style). See KVHS 0455 for Olivetti Lettera typewriter.commercial, protective carry bags/cases for mobile office equipment, mechanical typewriter

In April 1928 the MMBW had the land and the plans for what they were to construct but the timing of the actual building did not proceed as planned. Before the construction could commence the Great Depression of the 1930s intervened forcing the shelving of its plans. The new owners then offered the land for lease resulting in Frederick Werrett taking the opportunity to take up the land he formerly owned to continue his market gardening activities of growing potatoes, onions and other crops. The land and improvements made by Syme were leased in 1929 to Harry Telford a trainer from New South Wales. Phar Lap grazed there for a short time. [9] However the population of Melbourne continued to grow and the need for a sewerage treatment plant did not go away. In 1939 when the effects of the Depression had dissipated work on the Sewerage Effluent Treatment Plant commenced and the following year in October the Premier of the State, Albert Dunstan, officially commissioned it. The Sewerage Effluent Treatment Plant at Braeside served the communities of south-east Melbourne for thirty five years until 1975. In that year all the sewers that entered the Braeside plant were diverted to the South Eastern Trunk Sewer complex at Carrum.[10] In 1982 the chairman of the MMBW at that time, Alan Croxford, announced that a substantial part of the property at Braeside would be administered by the Parks and Gardens section of MMBW as a public park. Subsequently the responsibilities were transferred to Parks Victoria, the situation that exists today. It is known as “Braeside Park” now. [Source: Sewerage Treatment Plant at Braeside, Kingston Local History, https://localhistory.kingston.vic.gov.au/articles/407]alan gardiner collection, 1939, braeside sewage treatment plant, construction, melbourne metropolitan board of works, mmbw

In April 1928 the MMBW had the land and the plans for what they were to construct but the timing of the actual building did not proceed as planned. Before the construction could commence the Great Depression of the 1930s intervened forcing the shelving of its plans. The new owners then offered the land for lease resulting in Frederick Werrett taking the opportunity to take up the land he formerly owned to continue his market gardening activities of growing potatoes, onions and other crops. The land and improvements made by Syme were leased in 1929 to Harry Telford a trainer from New South Wales. Phar Lap grazed there for a short time. [9] However the population of Melbourne continued to grow and the need for a sewerage treatment plant did not go away. In 1939 when the effects of the Depression had dissipated work on the Sewerage Effluent Treatment Plant commenced and the following year in October the Premier of the State, Albert Dunstan, officially commissioned it. The Sewerage Effluent Treatment Plant at Braeside served the communities of south-east Melbourne for thirty five years until 1975. In that year all the sewers that entered the Braeside plant were diverted to the South Eastern Trunk Sewer complex at Carrum.[10] In 1982 the chairman of the MMBW at that time, Alan Croxford, announced that a substantial part of the property at Braeside would be administered by the Parks and Gardens section of MMBW as a public park. Subsequently the responsibilities were transferred to Parks Victoria, the situation that exists today. It is known as “Braeside Park” now. [Source: Sewerage Treatment Plant at Braeside, Kingston Local History, https://localhistory.kingston.vic.gov.au/articles/407]alan gardiner collection, 1939, braeside sewage treatment plant, construction, melbourne metropolitan board of works, mmbw

June Meeting (Newsletter No. 240, Jun. 2018) Prior to Shillinglaw Cottage (c1878-80) being relocated to where it is now operated as a popular cafe near the Eltham Library, it was within Josiah Holloway’s 1850s subdivision known as Little Eltham, which later became the centre of the first Eltham township. Originally a farmer’s cottage it is historically significant because it is one of the Shire’s oldest dwellings and a fine example of the work of the well-known pioneer builder George Stebbing. In 1964 the then Shire of Eltham purchased the Shillinglaw property with the intention of demolishing the cottage and constructing new Shire offices on the site. However extensive community action resulted in funds being raised to have the building saved and relocated further south to the Eltham Common, where it was joined by the Eltham Library 1994. New Shire offices opened in 1965, but following municipal restructure in 1994 these were demolished and the land sold to a developer, which precipitated a dramatic trail of community angst, threats of legal action, the sacking of a newly elected council and several unsuccessful development proposals, by subsequent councils. After all these years the vacant site there is still guarded by the three trees that were outside the front of the Shillinglaw Cottage. At our Society meeting on Wednesday 13th June 2018 Jim Connor will speak about the dramatic tale encompassing the history of the former Eltham Shire office site and the adjoining War Memorial Buildings complex, which are now being considered for sale or redevelopment by the current Nillumbik Shire Council.1:17:57 duration Digital MP3 File 27 MB audio recording, eltham district historical society, jim connor, meeting, shire of eltham office site, society meeting

Colin A Goldberg b 13 November 1932 - D 2February 2013. Colin attended several primary schools in Victoria leaving school aged 13 years. Working hard at various jobs Colin studied at RMIT qualifying as builder /carpenter in 1961. Colin was called up for National Service on 30 July, 1951. He was allotted to the RAAF, and underwent recruit training at Laverton. From there he went to the ground and air radio school in Ballarat. After his training Colin was placed in the RAAF reserve. Colin was on the list for Korea for 9 years although did not serve. Colin said of his training: "My National Service Training showed me purpose & a discipline that turned my life somewhat around for the good & for all time". Colin first joined the family of R S L at WARRAGUL in 1992 transferring to Lara in 1996. Elizabeth, Colin's wife, says that he was probably working with members of the RSL and that talk at work about the branch made him think that it was a good place to connect and make friends, and this was part of the reason why they continued at Lara. Colin. And wife Elizabeth came to live in Lara in 1994 there being a warm welcome for us both by the members of Lara RSL in 1996. Colin & Elizabeth found friendship & a whole wide window to the consequence of warfare. Indeed history written through the suffering of so many . Colin & Elizabeth were married for 57 years when Colin died. Colin and Elizabeth had two daughters, three grandchildren, and three great grandchildren however he never met them. Personal Story A willingness to put oneself in readiness for the call to arm oneself in the defence of family and Nation .Sepia image of Telegraphist A37084 Colin A Goldberg Cream Mount Black Frame. Colin is standing on the steps of hut number 199 at Ground and Air Radio School RAAF Ballarat A37084 Telegraphist Colin Arthu Goldberg. 1st National Service Intake. RAAF. 1932-2013.sepia photograph, korea, 1951, laverton, ballarat, raaf reserves

Initially named the Conservation Corps, the British Trust for Conservation Volunteers (BTCV) was founded in 1959 by the Council for Nature. Today BTCV is the “largest practical conservation charity in the United Kingdom”, and celebrated its fiftieth birthday in February 2009. Its original name had been adapted from that of the Civilian Conservation Corps launched by President Roosevelt in Depression-era USA: - "I propose to create a Civilian Conservation Corps to be used in simple work, not interfering with normal employment, and confining itself to forestry, the prevention of soil erosion, flood control and similar projects. More important, however, than the material gains, will be the moral and spiritual value of such work. Roosevelt’s idea had been revived by Governor Jerry Brown of California in 1976 and exchange of ideas and personnel between the California Conservation Corps (CCC) and other US conservation corps) has flourished since. Mark Dwyer (later to play an important role in Green Corps) was leader of the first California Conservation Corps three-month exchange program to Australia in 1988. The first ATCV exchange group to California in 1987 National Director, Tim Cox and Team Leader, David Clark (group leader, in Australian military hat) Right: Members of the first CCC exchange team to Australia at the US Embassy, Canberra in 1988: from left - Merrold, Vicci and Bobby with Mark Dwyer (centre) and David Clark (ATCV, right). Exchanges have continued annually since 1988 and, in addition to environmental work done, many friendships have been made and maintained over the years. This sleeve patch symbolises strong international links in place since ATCV/CVA was founded.This cloth sleeve patch is an example of those sewn onto the uniforms of staff and volunteers of the California Conservation Corps. It is round with an orange rim with black lettering naming ther organisation and inside the rime there is a light blue circle inset with the State flag of California. This sleeve patch is part of CVA's collection of 34 sleeve patches from many States of the USA.corps, david, conservation, mark, dwyer, california, clark, sleeve, patches

The Bowler hat, characterised by its dome-like crown, was invented in 1849 by a pair of hat-makers: brothers Thomas and William Bowler. They were commissioned by the famous London hat retailer “Lock & Co” to invent a close-fitting, low-crowned hat for their customer Mr. Edward Coke. It would be sturdy and not easily knocked or blown off the wearer’s head. The difference between a Bowler hat and a Derby hat is simply that Bowler hats are British, Derby hats are American. The Bowler / Derby hat was devised in London during a time when the top hat was the upper-class men’s hat of choice and the lower social class wore soft, cloth caps. However, the top hat was impractical and inconvenient for those on horseback as it easily toppled over and was easily damaged. Bowler hats were termed “stiff” hats– they were given a coat of shellac in the construction process and therefore never conformed to the shape of the wearers head. While very stiff, the hat is lined in a beautiful, soft silk to ensure comfort. The Bowler hat marked the first middle ground between formality and casual wear. c1900 The Derby hats were very popular for all classes in USA including criminals like Butch Cassidy & Sundance Kid and c1920 many fashionable women also wore them. In England and Commonwealth the Bowler hat remained popular throughout the 1800s and through the first half of the 1900s, being worn by everyone from politicians, actors, accountants, bankers, and the 'everyman' on the street.The family of Nance Blackman were early settlers in Moorabbin ShireA black felt Bowler hat with cream silk lining and black ribbon bandInside Crown & Band ; The Cobweb Felt / easiest/ fitting / extra light / Inside Band Best Quality / 6111hats, hatters, blackman nance, clothing, suits, fashion wear, bankers, actors, politicians, bowler hats, derby hats, top hats, social classes, moorabbin, cheltenham, bentleigh, brighton, market gardeners, pioneers, early settlers, bowler thomas, bowler william, lock & co. ltd. london, england, america, canada

Pipe smoking has been in vogue for centuries, and in Australia it was a symbol of the "discerning smoker" such as the landed gentry or men of professional status. This pipe, of the Standard Canadian style, would have emigrated to Australia with its owner, a reasonable young professional or executive of the Hudson Bay Tobacco Company in the late 1800s or early 1900s. It is the type of pipe well suited to a harsh rural backdrop and with its owner found the Kiewa Valley a more relaxed environment than the Canadian Indian locations. The value of this pipe to the original owner, who would have sealed many trade contracts during the Canadian Indian smoke rituals In the late 1800s, is indicated by the long voyage to Australia and the Kiewa Valley. However with the health related restrictions placed on public smoking in the early 2000s, these tobacco pipes were not immune from the legislation, and even though the pipe smoke was not as offensive as cigarette smoke it still came under the umbrella of smoking. Pipes were also used in the process of inhaling illicit drugs i.e. marijuana, but this use was limited to a very few and not with this pipe. Smoking in the second millennium is being phased out as a social habit in Australia but may affect the few "private" smoker and has, as the United States prohibition era (alcoholic drinks) did, spawn an illicit trade in cheap contraband tobacco. Pipes such as this item show that smoking was not only part of the lifestyle of the era but also that it was part of a ritual (especially to the Indians of the Canada Hudson Bay region) that sealed a brotherhood not only socially but also politically and economically.This type of pipe lends itself well to the rural setting of the Kiewa Valley and although it is a very exclusive pipe it blended into the tobacco industrial environment of the Kiewa Valley and its surrounding districts. The Kiewa Valley region was up until the late 1900s part of the Australian Tobacco industry and the levels of men smoking pipes was enhanced by the readily supply, "off the fields", of tobacco leaves and the attitude to city based smoking restrictions was one of resentment.This pipe has a straight shank and stem and its style is 'standard Canadian'. The pipe has a permanent filter and a stainless steel band with the initials of the Hudson Bay Tobacco Company and its seals stamped on it.. The bowl and shank are one piece of appropriate shaped wood. The bit and bore are made from bakelite (dark brown in colour). The pipe is fashioned in the form of the clay pipes used by trappers, in the late 1800s early 1900s. It has a "rest" lug at the bottom of the bowl similar to clay pipes. This pipe has its own pipe case with wood reinforcement running the entire pipe shaped contour.On the stainless steel at the mortise and tenon junction is stamped "HP" and below that are stamped symbols of a ship's anchor, a lion and a tobacco leaf.tobacco, pipe smoking, smoking accessories

A tankard is a form of drinkware consisting of a large, roughly cylindrical, drinking cup with a single handle. Tankards are usually made of silver or pewter but can be made of other materials, for example, wood, ceramic or leather. A tankard may have a hinged lid, and tankards featuring glass bottoms are also fairly common. Tankards are shaped and used similarly to German beer steins. The word "tankard" originally meant any wooden vessel derived from the 13th century and later came to mean a drinking vessel. The earliest tankards were made of wooden staves, similar to a barrel, and did not have lids. A 2000-year-old wooden tankard of approximately four-pint capacity has been unearthed in Wales. Metal tankards often come with a glass bottom and the legend is that the glass-bottomed tankard was developed as a way of refusing the King's shilling, i.e. conscription into the British army or navy. The drinker could see the coin in the bottom of the glass and refuse the drink, thereby avoiding conscription. However, this is likely to be a myth, since the Navy could press by force, known as press-ganging, rendering deception unnecessary. In a bar fight, the first punch was thrown while the recipient had the tankard raised to his mouth; another legend has it that the glass bottom was implemented to see the attack coming. A further story is that the glass bottom merely allowed the drinker to judge the clarity of their drink while forgoing the expense of a fragile pint glass. It is unclear if all or any of these legends have any substance. The Tankard is associated with the shipwreck of the Loch Ard which is of significance for Victoria and is registered on the Victorian Heritage Register (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and this tankard is one item from the largest accumulation of artefacts from this notable Victorian shipwreck. The tankard was found on the wreck and it gives us a snapshot into Victorian maritime history. Allowing us to interpret the story of this tragic event. This drinking vessel is also archaeologically significant as it represents aspects of Victoria's history that allows us to interpret Victoria's social and historical themes of the time. The tankards significance is unfortunately its association with the worst and best-known shipwreck in Victoria's history. (See note section this document for history of the Loch Ard wreck)Pewter tankard; rolled lip, flared base, large handle. Surface has marine encrustations. Inscription on attached label. Recovered from the shipwreck as the Loch Ard. "LA 33 255"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, pewter tankard, tankard, drinking vessel

A shaving scuttle and shaving mug were developed around the 19th century with the first patent for a shaving mug dating to 1867.[8] As hot water was not common in many households, one way to provide hot lather was to use a scuttle or mug. A traditional scuttle resembles a teapot with a wide spout where hot water is poured in, and this is where it differs from a shaving mug, which has no spout. Both shaving scuttles and mugs usually have a handle, but some have none. Shaving mugs often look like a standard mug, however, some also have a built in brush rest, so the brush does not sit in lather. Modern versions of the scuttle are in limited production, usually by independent potters working in small volumes.[9] At the top of the scuttle or mug is a soap holder. Traditionally, it was used with a hard block of shaving soap (rather than soft soap or cream) and therefore had drain holes at the bottom. Later scuttles and mugs do not include the holes, and thus can be used with creams and soft soaps. Some scuttles and mugs have concentric circles on the bottom, which retain some water thus helping to build lather.[9] In use, the shaving brush is dunked into the wide spout, allowing it to soak into the water and heat up. The soap is placed in the soap holder. When needed, one can take the brush and brush it against the soap, bringing up a layer of lather; excess water is drained back. This allows conservation of water and soap, whilst retaining enough heat to ensure a long shave. Source: www.wikipedia.org Local social historyOrnate white china mug with handle. Cup side to hold brush and saucer shaped top with 3 drainage holes. Gold painted decoration and flower garland of pink and yellow roses. Mother of pearl effect over sides.Made in Germanyshaving, item, china, mug, bathroom, men, personal, toiletry

Research is still being carried out regarding the inscription on this bell. Perhaps it was used for horses during the war. It may have been a souvenir or perhaps just a political statement, similar to 'Buy Australian'. Cow bells were common to colonial agriculture and transport, used wherever animals were turned out to graze overnight and had to be rounded up again next morning. Bells were fastened around the necks of household milking cows, domestic goats, bullock teams, horse teams, and camel teams, to help find them in the pre-dawn light. Station shepherds and cattle drovers also used them to warn of any disturbances to their flocks and herds overnight. The bells were a necessary item in a largely unfenced continent. So important, that Anthony Mongon began making his pot-bells at Yackandandah from 1861, August Menneke produced the “Wagga Pot” from 1867, and Samuel Jones started manufacturing his distinctively shaped “Condamine Bell” in 1868. However, these deeply resonant Australian bells were made from iron — Mongon and Jones were blacksmiths who simply beat old pitsaw blades into shape. Few genuinely brass cow bells were made here, the vast majority being imported from Britain where the industry of brass founding was already well established. (Some bells were also imported from the United States, but these too were nearly all of iron).This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. Cow bell, brass, topless pyramid shape, inverted "U" shaped pin attached. Pin and clapper are iron. Bell is embossed on sides. Embossed "ADVANCE / VICTORIA" and "WWI"flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, great ocean road, cow bell, horse bell, bell smith, vintage bell, farmer, shepherd, drover, stock bell, brass bell, advance australia, wwi

The design of the bottle is sometimes called a ‘cottage’ or ‘boat’ shape. This handmade glass ink bottle was mouth-blown into a two-piece mould, a method often used in the mid-to-late 19th century. The glass blower burst the bottle off the end of his blowpipe with a tool, leaving an uneven mouth and sharp edge on the bottle, which was usually filed. The bottle was then filled with ink and sealed with a cork. More expensive bottles would have a lip added, which was more time-consuming and costly to produce. The capacity for a bottle such as this was about 3 ½ oz (ounces) equal to about 100 ml. Pen and ink have been in use for handwriting since about the seventh century. A quill pen made from a bird’s feather was used up until around the mid-19th century. In the 1850s a steel point nib for the dip pen was invented and could be manufactured on machines in large quantities. The nis only held a small amount of ink so users had to frequently dip the nib into an ink well for more ink. Handwriting left wet ink on the paper, so the blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased as a ready-to-use liquid or in powdered form, which needed to be mixed with water. In the 1880s a successful, portable fountain pen gave smooth-flowing ink and was easy to use. In the mid-20th century, the modern ballpoint pen was readily available and inexpensive, so the fountain pen lost its popularity. However, artisans continue to use nib pens to create beautiful calligraphy.This ink bottle still retains its original cork. The method of manufacture is representative of a 19th-century, handcraft industry that is now largely replaced by mass production. The ink bottle is historically significant as it represents methods of handwritten personal and business communication that were still common up until the mid-20th century when fountain pens and modern ballpoint pens became popular and convenient and typewriters were becoming part of standard office equipment.Victorian 'boat' shaped ink bottle; small rectangular clear glass ink bottle with grooves in shoulders for holding pen. Bottle has side seams and a 'burst-lip'. The bottle retains its cork.flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ink, nib pen, writing ink, writing, copying, banks, lawyers, commerce, student, permanent ink, stationery, record keeping, handwriting, writing equipment, writing accessory, office supply, cottage bottle, boat bottle, mouth-blown bottle, two-part mould, sheer-lip bottle, burst-lip, cork seal, stencil ink, copy ink

From the Argus, Friday 18 July 1879:- SAFETY MINING CAGES. The report of the board on safety mining cages was laid on the table of the Legislative Assembly fortnight The board, which has tested the following inventions Nances, Williams patent, Jackson and Middleton's patent Sesmours patent, Allans patent, and Hassan a patent, reports as follows - 1. That the preponderance of evidence given by miners and others qualified to form an opinion is strongly in favour of the adop-tion of a safety cage for general use in the mines of this colony, provided that a reliable invention can be brought forward, and its practical utility satisfactorily determined 2. That in view of the rapid increase of cage accidents, and supported by the evidence before them, the board are of opinion that some special provision should be made to check such a prolific source of danger as is shown to exist in the working of the shaft and machinery employed for winding purposes. 3. That this check could be imposed by means of such a regulation as that at present contained in the statute, i e -" Every cage used in a mine shall be fitted with special and suitable appliances to prevent its sudden fall down a shaft and also to prevent its coming into contact with the poppet heads." The board, however, consider that mine proprietors should be permitted to exercise their own discretion in the selection of safety cages, but safety hooks and balance catches must be used in connexion with every case 4. That the board have witnessed trials of all the inventions brought under their notice, and from the result of their observations the members are of opinion that the adoption of these safety appliances will afford additional security to the large section of the community engaged in mining operations.48 foolscap pages report stitched together. safety cages, safety mining cages, george collins levey, mining, mitchell and osborne's patent safety catches for mining cages, mining cages, seymour's patent safety cage, pryor's safety cage, white's safety cage, mining accidents, dyke's freehold gmc creswick, angelo mining co castlemaine, britannia qmc ballarat, alexander kennedy smith, george r. fincham, henry roberts williams, robert clark, r. richardson, allan's patent balalrat, hassan's patent daylesford, david white, charles stewart, w.h. grainger, h.b. nicholas, t. hassan, r. allan, a.k. smith, james thomson, william collard smith, j.h. seymour, john s. delbridge, william buttle, james davidson, j.p. carolin, r. clark, thomas eyre, george marshall, g. thureau, william bottoms, robert carr, j.c. march, john keam, david park, j.a. lewis, lester's hotel, ballarat, robert allan, nancarrow saftey cage, robert malachi serjeant, robert henderson, g.f. smith, r.w. newman, william benson, f. bennett, john sharp, thomas couchman, john a. wallace, john small, william h. grainger, james cowling, tools

A visiting card, also known as a calling card, is a small paper card with one's name printed on it, and often bearing an artistic design. Visiting cards became an indispensable tool of etiquette, with sophisticated rules governing their use. The essential convention was that one person would not expect to see another person in his own home (unless invited or introduced) without first leaving his visiting card for the person at his home. Upon leaving the card, he would not expect to be admitted at first, but might receive a card at his own home in response. This would serve as a signal that a personal visit and meeting at home would be welcome. On the other hand, if no card were forthcoming, or if a card were sent in an envelope, a personal visit was thereby discouraged. As an adoption from French and English etiquette, visiting cards became common amongst the aristocracy of Europe, and also in the United States. The whole procedure depended upon there being servants to open the door and receive the cards and it was, therefore, confined to the social classes which employed servants. Some visiting cards included refined engraved ornaments, embossed lettering, and fantastic coats of arms. However, the standard form visiting card in the 19th century in the United Kingdom was a plain card with nothing more than the bearer's name on it. Sometimes the name of a gentlemen's club might be added, but addresses were not otherwise included. If a card was left with a turned corner it indicated that the card had been left in person rather than by a servant. Visiting cards were kept in highly decorated card cases.A timber calling card case, heavily carved with flowers, leaves and huts.craftwork, woodwork, visiting cards, early settlers, moorabbin, bentleigh, cheltenham, market gardeners

Proudly worn by soldiers of the 1st and 2nd Australian Imperial Force in both World Wars, the 'Rising Sun' badge has become an integral part of the digger tradition. The distinctive shape of the badge, worn on the upturned side of a slouch hat, is commonly identified with the spirit of ANZAC formed at the Gallipoli landings 1915 There are seven patterns of the Rising Sun. 1902 - 1991. The Rising Sun has evolved over time and today Australian Army soldiers wear the seventh pattern Rising Sun. The Third Pattern Rising Sun Badge. May 1904 The third pattern Rising Sun badge carried a scroll inscribed with the words ‘Australian Commonwealth Military Forces’ and was worn throughout both World Wars. There were, however, a number of variations of the badge; a special version was struck for the coronation of King Edward VII in 1902 and there were badges of the Commonwealth Horse and the Australian Instructional Corps, each with its respective title on the scrolls. This pattern badge formed the template for all subsequent General Service badges. The most widely accepted version of the origin of this badge is the one that attributes the selection of its design, c1902, to a British Officer, Major General Sir Edward Hutton, the newly appointed Commander-in-Chief of the Australian Forces. Hutton had earlier received as a gift from Brigadier General Joseph Gordon, a military acquaintance of long standing, a ‘Trophy-of-Arms’ composed of mounted cut and thrust swords and triangular Martini-Henry bayonets that were arranged in a semi-circle around the Crown. To General Hutton, the shield was symbolic of the cooperation between the naval and military forces of the Empire. This Third Pattern Rising Sun Badge.- May 1904 - was worn on the Slouch hats of soldiers serving in the Australian Commonwealth Military Forces during World War 1 1914-1918World War1 1914-1918, soldier’s, rising sun hat badge, made of oxidised copperRising Sun with central Crown AUSTRALIAN COMMONWEALTH / MILITARY FORCES australian military uniforms, military insignia, badges, city of moorabbin, bentleigh, cheltenham, major general sir edward hutton, anzac, gallipoli, australian imperial forces, ww1 1914-1918

Reference: American Journal of Pharmacy, volume 1, page 162. "So rapid is the progress of this change, that it is seldom we meet with the article in our shops which is not more or less injured by it. The first sign of the loss of alkali, is the efflorescence on the surface, which gradually extends till the whole crystalline mass is altered. It is from this cause that we have so much difficulty in pleasing those who are particular about the quality of their "smelling salts." A preparation, called " the Preston smelling salts," has within a few years been introduced from England, and has deservedly been much sought after. The manufacturers have wisely put it up in very wide mouthed bottles, which enable one to inhale a much larger quantity of ammonia at once, and thus increase the apparent strength of the salt. But it has other qualities to recommend it, than the manner in which it is put up for sale. It retains its odour for a longer time and wastes more slowly than the common smelling salts. It was generally believed, when the article was first brought here, that its superiority was owing to the sublimation being made at once into the bottle, so as to avoid any loss of ammonia by unnecessary exposure to the air. An examination, however, will satisfy any one that the salt is crystallized and not sublimed. The superior compactness and hardness of a crystalline over a sublimed salt, are great advantages in so volatile a substance as the carbonate of ammonia; and to this, I have no doubt the good qualities of the Preston salts are to be attributed. The salt may be crystallized with great facility in the winter season".Round squat clear glass bottle, wide neck with rough cut top, embossed text on side.'PRESTON SALTS' on side.smelling salts, preston salts

The Slingsby T31 is a two seat training glider that came available in 1951. It is, in effect, a two seat version of the single seat Kirby Tutor. The T31 was marketed by Slingsby Sailplanes both as complete aircraft and kits of parts for assembly. The Australian Gliding Museum’s example (currently registered as VH-GDB) is one of five of this type to grace Australian skies. Three including GDB were assembled in Australia from kits supplied by Slingsby’s in England, the other two were delivered as completed airframes. To date only four remain of which two are airworthy. This aircraft began flying in at Caversham in Western Australia (the then home of the Gliding Club of Western Australia) in July 1956. It was badly damaged in a crash in June 1958. The wreckage was sent to Schneiders in Adelaide for repair. However, the Club decided against having the repairs done, opting instead to buy a new ES52 Kookaburra. After a couple of years, the wreck was purchased by a member of the Waikerie Gliding Club whereupon the glider was rebuilt with some modifications, including a more rounded and better streamlined fuselage nose. It returned to the air in October 1961 at Clare in South Australia. The ownership of VH-GDB passed through a number of clubs, including at Dubbo in New South Wales, Wimmera in Victoria and Pioneer Valley at Mackay in Queensland. Eventually, it came into the hands of Bill Riley of Tocumwal in New South Wales who held it in storage for many years. Riley donated the aircraft to the Museum. It has been restored to airworthiness and is flown at vintage glider rallies and on Museum open days. This exhibit is an excellent example of a Slingsby T31 Tandem Tutor, a type of glider that was used by a number of clubs in the 1950s and 1960s for dual training of pilots to the solo capability.The Slingsby T31b Tandem Tutor is an open cockpit, tandem, two-seater glider with high, pylon mounted two piece wing supported by double, wire braced, steel tube struts. The glider is fitted with a main wheel, rubber-block sprung, wooden nose skid and steel leaf sprung, brass shod tailskid. The basic controls of aileron, rudder and elevator are not supplemented with pitch trim. Wing lift spoilers and both aerotow and winch releases are fitted. The instrument panels in both cockpits are fitted with an airspeed indicator, cosim variometer and altimeter. This red and silver painted wood and fabric covered aircraft is in excellent condition having been restored to full airworthy status by the Australian Gliding Museum. SLINGSBY – T31b (nose – both sides) DB Australian Gliding Museum (rudder – both sides) It has been given Serial Number GFA/HB/12 and is registered as VH-GDBaustralian gliding, glider, sailplane, slingsby, tandem tutor, t31, gliding club of western australia, waikerie gliding club, wimmera soaring club, pioneer valley soaring club

The Ka 2, a tandem two seat training sailplane of 15 metre wing span, was designed by Rudolf Kaiser for Schleicher in 1953. It was a versatile craft due to its good cross country soaring capability. With the Ka 2B, the design was improved in 1955 by lengthening the wing span to 16 metres and increasing the dihedral and tip washout. The fuselage was lengthened slightly as well. Schleicher built 42 Ka2s from 1953 to 1955 and 75 Ka 2Bs from 1955 to 1957. In addition Schleicher supplied kits for construction of the sailplane by independent builders. The Australian Gliding Museum’s example is the single Ka 2b built in Australia from plans and is designated as GFA-HB-47. The club concerned was the Illawarra Soaring Club of Sydney. The glider registered as VH-GHO and first flew in October 1960. However, within a short time it was badly damaged and needed major repairs which took over a year to complete. After lengthy service at Illawarra Soaring Club it was transferred to the Stirling Gliding Club in Western Australia in August 1976. Again it suffered damage in a landing accident in 1978. The damaged glider was put into storage at Northam where it remained for approximately 11 years. It was acquired by Mike Valentine in 1989 and brought back to flying condition at Bacchus Marsh, Victoria. The last entry in the log book is dated January 1997 at which time it had accumulated 1170 hours from 2446 flights. The last owner prior to transfer to the Australian Gliding Museum was John Ashford of the Geelong Gliding Club. The Museum's Ka 2B sailplane is a potentially airworthy example of this German 1950s sailplane type. It is a rarity in Australia as the only Ka 2b appearing on the Australian register.Tandem two seat sailplane of wood and fabric construction finished in cream and red colour schemeRegistration VH-GHO (with "HO" letters painted on the fin / rudder) Serial number - GFA HB 47 australian gliding, glider, sailplane, schleicher, kaiser, ka 2, illawarra soaring club, stirling gliding club, valentine, ashford

This model was found in the collection of Bay Steamers Maritime Museum. It is not knowt who created it but it is supposed that it was constructed to educate the many masters of the Wattle in the operation of a steam engine - a not so common mode of power these days. A Bay Steamers Maritime Museum examined the model in March 2012 and discovered that is was in poor repair. Using his existing knowledge, and with reference to some historic texts, he made some repairs and returned the model to working order. Here is his anaylsis of the situation as an excerpt from the Bay Steamers Maritime Museum newsletter Steamlines May 2012 "I was confronted with a model of a steam engine used years ago as a training aid for hopeful steam engineers. Already having a knowledge of steam operations, I considered a museum write-up for that model a ‘piece of cake’. However, on turning the model’s crankshaft, the valve timing seemed ‘out of kilter’ with the movement of the piston. Problem was that the two eccentrics on the crankshaft were not properly secured to it. Eventually I fastened the two eccentrics to the crankshaft where I felt that they should be and then realized that one of them had a chain-driven valve-timing device attached. This would be adjusted while an engine was running to achieve best performance and fuel economy whilst in operation by accurately controlling the period of time during which steam under pressure from the boiler would be admitted to the cylinder and give greater time for the steam to expand in the cylinder, move the piston and turn the crankshaft and thus, drive the attached apparatus. When the valves were correctly set up it was then possible to get the model to function properly.The model comprises a green section, which is the actual the model mounted on a brown painted board. There are two parts of the model, painted white representing the steam passages, and black representing the cast- iron portions of the cylinder-block casting, and of the main valve sliding between the cylinder a second sliding valve. Of the black portions, one slides back and forth being connected to a rod which is connected to an eccentric clamped to the crankshaft and is the nearer to the flywheel of two eccentrics. This eccentric is attached to the crankshaft at an angle of 90 degrees to the crank-pin attached to the flywheel. To operate the model simply turn the flywheel by means of the handle attached to its crank-pin. A second eccentric is also attached to the crankshaft, further away from the first eccentric, and it is adjusted to operate 90 degrees from the first eccentric (that is, 180 degrees from the crank-pin) A piston (painted silver) is located in a plastic cylinder and has a piston rod which passes through one end of the cylinder, (in actual practice a steam-proof gland seals the cylinder against loss of steam) terminating in a cross-head slide between four rails guiding it. From this cross-head, a connecting rod joins the piston-rod to the flywheel via the crank-pin attached to the flywheel which is part of the crankshaft. (In actual practice, a flywheel may not be used, particularly in a multi-cylinder engine.) The white portions of the model painted nearest to the cylinder represent the two steam ports cast into the main cylinder block, whilst one section painted in between those two represents the exhaust outlet (which may be connected to a condenser to conserve water, or to the open air). The main slide valve has three white-painted portions painted thereon. It has two white-painted marks representing the steam passages to the steam ports into the cylinder, and a third section in between the other two, being that part of the valve through which exhaust steam passes in line with the ports in the cylinder block. By rotating the flywheel, the operations of an engine will be observed as steam is admitted to the main valve via the gap between the two jaws of two moveable portions of a second sliding valve which is operated by the second eccentric attached to the crank-shaft. This eccentric is used to finely tune the valve timing of this model to obtain best running results of an engine. There are various methods used for reversing a steam engine. model compound steam engine, steam engine, model, crankshaft, valve, flywheel, wattle, engineer, eccentrics