Royal blue rayon knee length dress made of rayon fabric. Bodice is sleeveless with three shoe string straps on each side. Straps have a decorative knot at shoulder joining the three straps. The neckline is an inverted U shape across the front. The bodice is lined with the royal blue rayon fabric. The front of the bodice has two pleated panels running diagonally from the top with the right side overlapping diagonally. The skirt is an A line shape attached to the bodice with two pleats on either side of the front and back. The skirt is lined with brown paper stiffening fabric. A 9cm horizontal band with three pleats is attached above the waist line. On each pleat is a row of decorative buttons (6, 5, 6) made of strings of clear glass beads coiled into a spiral shape. The central back opening has a 36cm zipper.Tag sown inside back of bodice on RHS - Styled by Jeffrey of Melbourne All Rayoncostume, female daywear, dress

Objects. Fine black leather box, 14 cms x 6.5 cms, lined in royal blue silk satin. A 5.5 cm long silk ribbon has a .75 cm wide burgandy coloured stripe at either edge of a 1.5 cm wide pale blue central stripe. At top and bottom a richly engraved brass clasp, while in the centre is a 7shaped brass symbol, engraved with ""NEANGER 1959MARK LODGE No62, hanging from the suspender is a ^shaped brass shape engraved:"Presented to Wor.Bro. J.E.Harper, PM MASTER 1959.60. as a token of esteem EAGLEHAWK 12-10 60.On the reverse of the Vshape is a section of a ruler - 1,2,3(cms) and a scroll design.Below the inverted^shape a small rectangular shape with rounded top hangs on a small three loop chain. A circular eyelet shape on both front and back has small lettering on either side.organisation, masonic lodge, leather box and lodge badge

Royal blue rayon and silk short sleeved knee length dress. Back is made of two pieces with centre seam. Inverted pleat at centre 18cm above hem. Two vertical darts have been used on either side of the centre back (30cm). Both darts have been unstitched. Short set in sleeves. Front has bodice crossover to form V neck.15 cm crossover Midriff piece and skirt in one piece – straight. Bodice crossover pieces joined to midriff. Dull blue lace fabric lined with royal blue rayon, joined to midriff piece – layered horizontally with 4 tucks of 3cm showing. Attached to skirt. Skirt one piece with two knife pleats on either side of centre. LHS opening with 26cm metal zipper from 8cm below sleeve. Linen look fabric. Part of ensemble with 11400.525Created by ZANKO of Melbournecostume, female daywear, dress

Yields information and demonstrates aspects about Ballarat's destination rolls used in trams after 1967 when these rolls replaced those with the opposite colour arrangementDestination roll black lettering on white fabric background used in Ballarat from late 1967 until closure, replaced white letters on black background. Layout of individual destinations follows that shown in K.S.Kings, "Ballarat Tramways" - see image file for copy. Main letters are 150 high. On rear of roll, has abbreviated destinations painted in black paint to enable drivers to locate easier the individual destinations. See Reg. item 844 for a white on black roll, same destinations and order and details of use. Images btm1744i1 to i4 - sections of the destination roll, when rolled out, i3 shows an example of an abbreviated destination - note it has been rolled in an flat oval shape. i5 and i6 - nature of water damage at top left hand edge of roll. i7 - list of destinations on roll (obtained by inverting the image in btm844i) See K.S.Kings "Ballarat Tramways" Not to be used in a tramcar destination box - original to be kept in archives. tram, trams, ballarat, destination roll

In 2023 The Royal Australian Mint has released a Legacy Centenary Coin. The coin is available in a limited mintage of 30,000. The reverse of the coin features a sculpted interpretation of the Legacy logo torch cupped by a pair of hands with the title text ‘Centenary of Legacy • 100 Years of Service’ circling the design around the edge of the coin. The front side of the coin features the Queen Elizabeth II Memorial Obverse which will only be featured on coins made in 2023, making this coin even more collectible. The coin was released in two different presentation cards. Australia Post also issued a stamp featuring the Legacy Torch. It will be in general circulation as well as available as commemorative packs and first day covers. The stamp design presents the iconic branding of Legacy Australia and echoes the colours of the Australian flag. The torch design prominently placed in the stamp represents the undying flame of service and sacrifice, the foundation of Legacy’s existence. The body of the torch is presented in a gold colour, signifying generosity and compassion. In its wreath of laurel, with its points inverted in remembrance, is the guerdon of honour, to represent those who gave their lives for their country. The coin was released in two different presentation cards. One was $15. This one appears with the Legacy Stamp and postmarked as a first day of issue and cost $18.95 in a limited edition of 7,000. A record that Legacy's reputation is such that the centenary was marked by the Royal Mint and Australia Post.An uncirculated Australian $1 coin in a protective pack with the Legacy Stamp.100th anniversary, centenary

Detachable collars enclosed in a leather box such as this one were used in the 19th and early 20th centuries, particularly by men in the business and clerical professions. The collars were attached by studs or buttons to a shirt. The collars were removed prior to shirt washing the shirt. The leather box was most useful for travelling. Detachable collars could still be used today particularly by clergymen. Two are named E R Twomey.This box and collars are retained as an example of vintage men's wear. It will be useful for display.A brown leather cylindrical case with a strap and buckle. It has white thread stitching around the rim and upper edge of the lid, the slot for the buckle, the rim and lower edge of the base . Inside are four detachable white winged collars for wearing with a shirt. Each has three holes, one for a button and two for a stud or for buttons at the front, two wings and a curved slot at the back.They are made of very fine cotton and linen.002215.1 J.T. MADE IN ENGLAND ESPECIALLY FOR Buckley & Nunn Ltd. MELBOURNE 002215.2 A stamped lion, WELCH MARCETSON 7 CO. LTD. 4 THE ALATUS TRADE MARK DES M 9 M 520 1 3/4 x 1/2 T14 002215.3 MADE IN ENGLAND FOR BUCKLEY & NUNN MELBOURNE EXTRA QUALITY , A deer head with antlers in a pointed elipse E.R. THOMEY a red inverted drawn triangle two dots Lindum 2x 151/2 002215.4 MADE IN ENGLAND FOR BUCKLEY & NUNN MELBOURNE EXTRA QUALITY, A Deer head with antlers in a pointed elipse . T indecipherable . E.R.T.4 indecipherable. Lindum 2x15 002215.5 E.R. THOMEY Indecipherable Lindum 2x 15 ? warrnambool, detachable vintage collars, detachable men's shirt collars

TROVE : Bendigo Advertiser (Vic. : 1855 - 1918), Saturday 7 September 1901, page 2 BONNINGTON'S IRISH MOSS. Bonnington's Carrageen Irish Moss was first introduced into New Zealand 35 years ago, and it spread gradually until the sales now extend through the whole colony, and has been in constant demand ever since. Through the genuine merits of the widely known and popular remedy for coughs, colds, etc., and encouraged by this success in New Zealand, the proprietor (Mr. Geo. Bonnington) chemist of that colony, was induced to place his celebrated preparation on the Australian market. With that object in view, some eight or ten years ago, a factory for manufacturing purposes was established (under the style of Bonnington and Co.) at 179 Harris-street, Sydney. Since then, its sales have spread far and wide, and the proprietors are pleased to notify the public generally that Bonnington's Carrageen Irish Moss can now be obtained in all the states of Australia. Every year it is becoming more known, and when once tried is always appreciated by the people. Hundreds of testimonials have been received by the proprietors from all parts, testifying to the wonderful curative properties in allaying irritating coughs, bronchitis, colds, and affections of the vocal organs. For the cure of croup, whooping cough, etc., it has proved marvellously successful and is especially prized by mothers for their children, as it never fails to give relief and effect a speedy cure. Containing nothing injurious, there is not the least danger in giving it to children. If they are troubled at night with a hacking cough or any chest affection, one dose will relieve and ensure a good night's rest. The unparalleled which has attended the sale of Bonnington's Carrageen Irish Moss has led to many worthless imitations, and the public when purchasing are cautioned to be sure and ask for Bonnington's. TROVE : Gippsland Times (Vic. : 1861 - 1954), Thursday 1 October 1908, page 3 BONNINGTON'S IRISH MOSS Can be had from any chemist or store. It is the universal remedy for Influenza, Coughs and Colds. A safe and pleasant medicine for children as well as adults. Brown cardboard box with dark blue printed text on side and pink label with black text on top. Contains seven (7) unopened and one (1) opened tall grey boxes with printed white red and black labels. Each grey box containing a cork stoppered rectangular amber glass bottle, with a red, black and white printed label. Each bottle filled with a dark liquid.Outer square cardboard box in dark blue printed text within a decorative border : ' ONE DOZEN BONNINGTON'S Irish Moss for CUGHS, COLDS, INFLUENZA etc'. Pink label sealing paper on top of outer brown cardboard box with black printed text : 'BONNINGTON'S IRISH MOSS PRICES:- No.1 size 36/6 doz. No. 2 size 56/- doz. Retail Price :- Small size 3/6 Large size 6/3. IN QUANTITY Individual packaging boxes containing bottles : Paper labels on each bottle : Embossed on side of bottles in recessed cartouche ' BONNINGTON'S IRISH MOSS COUGHS & COLDS'. Embossed on base of bottles AGM logo and 'IS 804' (4 inverted) over '6'. croup, carrageen, coughs, influenza

Long lily-pointed sleeves, fastened at the wrist with six X 0ne cm covered buttons and loops. A firm padded roll 19cm long, and eleven cm circumference sits at the shoulder at top of sleeve. A gathered panel on either side of the neckline forms a sweetheart neckline. Gathering under the bust, and a A shaped centre front panel - with V shape at lower edge-panel 33cm long. Two semi-circular panels 28 X 19cm from side seam to the centre front, and defining the shape of the peaked centre panel. A small inverted pleat comes from th ebottom peak of the centre panel. Skirt is circular and extends into a sweeping train.29 covered buttons with loops extend from the back neckline to the curved join at the hipline of bodice and skirt. A one cm band of fabric has been machine stitched around the hemline, and hand rolled and hand stitched to give weight and finish at the hemline. Two X 2.5cm loops, hand stitched are at the left and right sides, to slip over the fingers to hold the train above the ground.costume, female, cream wedding dress with extended train

Leather, oval shaped hat box (in which is stored a men's silk top hat - 11400.834). Lined in blue velvet, and blue silk. Looped handle, 29cm long, attached with 2.5cm circular metal studs - possibly brass. An oval shaped insert, lined with blue velvet and silk, hold the inverted top hat. This hat was owned by John Sargood ( refer enclosed notes) whose initials are marked on trhe hat-box - J.S. - two cms high. An internal strap of black fabric, has a leather tab at one end with a metal key shaped fastener. Unfortunately the other end is broken off. This strap would hold the hat in the cavity. An outer leather strap, 4cm wide passes over the lid, and fastens at a 6.5cm diameter, circular metal disk with key lock. End of this strap is also broken - a piece of leather is inside the hat box. Strap is marked with a two cm high letter H which lines up with the owners initials when closed J.H.S..Sargood Family Notes in Clothing Box 157.costume accessories, male, leather hat box

A barometer is an instrument used for measuring atmosphere pressure thus determining weather changes.The first apparatus generally accepted as a barometer was that set up in Florence in 1644 by Evangelista Torricelli (1608–1647), a mathematician and physicist. Torricelli filled a glass tube with mercury, sealed it at one end, and inverted it with its open end in a dish of mercury. The level always fell a short way down the tube, then settled at a height of about thirty inches. He concluded correctly that the mercury column was sustained by the weight of the air pressing on the open surface of mercury, and further experiments convinced him that the space above the mercury in the tube was a vacuum. He noted that the level rose and fell with changing temperature, but he was unable to use his apparatus to measure variations in the weight of the atmosphere because he had not foreseen that temperature would affect the level of the mercury. News of this experiment circulated quickly among European scientists, who hastened to replicate the experiment. Torricelli's conclusions were not universally accepted because some disputed whether the air had weight, while both Aristotle and the Catholic Church denied the possibility of a vacuum. In France, the philosopher René Descartes (1596–1650) seems to have been the first person, probably in 1647, to attach a graduated scale to the tube so that he could record any changes attributable to the weather. At around this time Duke Ferdinand II of Tuscany organized the first short-lived meteorological network among scientists in other Italian cities, gathering observations of pressure, temperature, humidity, wind direction, and state of the sky.Theis barometer is an example of a household item from the early 20th century, used to determine the day's weather. The barometer is significant as an aid to human social, material and scientific development.Barometer, round, brass housing inset into carved wooden casing (lacquer mostly worn off). Decorative lettering for weather conditions "Stormy, Rain, Change, Fair, Very Dry". Workings are visible through opening in centre of dial. Indicator needle and another adjustable needle . Hook screwed into back of case.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, barometer, scientific instrument, weather forcasting instrument, weather gauge

Clothing. Navy blue silk dress with V neckline faced in soft pink silk, which is overlaid with navy rouleau, giving a ''lattice'' effect, and then the neckline has been bound with navy fabric. The lower edge and side is decorated with three, four-petalled flowers, backed with navy fabric, with navy covered buttons in each centre, and navy tipped, pink rouleau 'stems'. Three X 2 cm diameter navy covered buttons are spaced on either side of neckline. Six X 1cm wide loose pressed(not stitched) pleats and two 2 cm pleats form a panel from neckline to waist of bodice. This pleating continues from the waistline, and is stitched horizontally for 31 cm below the waistline, before falling in a pressed form to the hemline. Back of skirt is plain, with top stitched centre back seam, which opens into a (X2) 5.5 cm wide inverted pleat at centre back. Long sleeves are also pleated-stitched down horizontally, for 17 cms, then pressed(not stitched) to the cuff. The cuff has an 8 cm deep peak, tapering to 4.5 cm deep at the opening-which fastens with two metal press-studs. Sleeve fullness is gathered into the cuff.costume, female, navy blue dress

Pink, purple, green and grey floral patterned dress. Rayon fabric with smooth surface. Sleeveless bodice with wide shoulder straps. The shoulder straps widen from 6cm at the front across the shoulders to attach at either side of centre at 14cm. Back of the bodice is made of four straight pieces from waist to above bust line. The front of the bodice is made from three pieces with centre piece dipping. Narrow at front because gathered in to U shape at centre front at waist. Across the bust line are two pieces of fabric with horizontal folds to create fullness. The pieces are joined at centre front with a decorative knot of fabric. The bodice and shoulder straps are lined with cream coloured net. Two darts at front and two at back from waist. The full length skirt is made from two pieces at the front and the back is made from four pieces. Back of the bodice inverted at skirt. Back opening at centre back with 26cm metal zipper. Hook and eye above zipper. On either side of centre back are two folded pieces of gathered fabric attached at waistline to create the effect of a large bow with tails. Attached at the waist on each hip are two padded sections of fabric 39cm x 10cm, gathered at waist.costume, female daywear, dress

The photograph on the obverse side of the postcard was taken some time between 1914-1918. Depicted are five unidentified Australian soldiers. They are all dressed in military uniforms. It is believed that these soldiers were part of The Australian Imperial Force during World War I. This can be inferred by the 'Rising Sun' collar badges on their coats. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force. Another characteristic of the Australian Imperial Force uniform are rectangular colour patches. One is visible on the soldier in the front row, first from the left on this postcard. In March 1915, a new scheme of unit identification was devised to replace the wearing of unit titles. This consisted of cloth colour patches on the right arms of a soldier’s tunic. The sepia nature of the record means that we cannot determine the colour, and therefore cannot establish which battalion this soldier was part of. Furthermore, the man seated in the middle of the front row has an Overseas Service chevron patch on his coat. In January 1918, the Australian Imperial Force approved the wearing of the overseas service chevrons which had been adopted by the British Army. These were embroidered or woven inverted chevrons worn above the cuff on the right arm. Due to a shortage of supply, some men had chevrons privately made. For each year of war service, a blue chevron was awarded, and those men who had embarked in 1914 received a red chevron to indicate that year’s service; however, the sepia nature of the postcard makes it difficult to determine what colours are on this man's patch.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular postcard printed on paper.Reverse: CARTE POSTALE / hyossest (?) / 6538 /military album, army, aif, australian imperial force, postcard, wwi, world war i, portrait, soldiers

Clothing, cream coloured double layer child's silk cape. Inner cape has 13 cm one piece circular yolk with 7 cm turned over collar. Casing around neck has 4 cm draw string ribbon threaded through. Inner cape is made from one piece of fabric with inverted V shaped insert on LHS extending 40 cm from edge of yoke. Inner cape is fully lined with cotton fabric. Two extra satin lining panels extend from yolk to hem inside both front openings.(7 cm widening to 28 cm at hem). Outer cape is made from one piece of fabric falling 57 cm from the collar. Outer cape is fully lined with cotton fabric with additional satin lining panels inside front openings from neckline to hem ( 8 cm at neck to 30 cm at hem). Both layers have decorative silk embroidery of floral patterns. Outer cape pattern extends down both sides of front opening and continues above the hem line around the cape. The embroidery on the inner cape extends from the lower edges of the front openings and continues above the hem around the cape. The collar is embroidered with silk thread and lined with satin fabric. Old box 524.costume, children's, cream coloured silk cape.

An inspection tour of the Maroondah Aqueduct was undertaken by the Shire of Eltham Historical Society on Sunday, March 22nd, 1981, commening where the aqueduct crosses Main Rd., Research, just below Eltham College. The Maroondah Aqueduct was part of Melbourne’s water supply system. It carried water over the 66 km from the Maroondah Reservoir on the Watts River at Healesville to the Preston Reservoir. Of this length, 41 km were open channel, 10 km, tunnel through hills and 15 km in 14 inverted siphons across stream valleys. The route of the aqueduct is north of Tarrawarra and Yarra Glen, along the Yarra escarpment south of Christmas Hills and crossing Watsons Creek into the present Shire of Eltham near Henley Rd. The eastern part of the route lies entirely within the former boundaries of the shire. The aqueduct passes south of Kangaroo Ground to Research and crosses the Diamond Creek by siphon at Allendale Rd., Eltham North. It then extends to Reservoir via St. Helena, Greensborough North and Bundoora. Water first flowed through the aqueduct in February 1891 when it was fed by a diversion weir on the Watts River. Records of the building of the aqueduct indicate that it was a significant construction achievement. The present Maroondah Reservoir was completed in 1927 and the aqueduct was enlarged at that time to take increased flows. About 1971 the section of the aqueduct through and north of Research was replaced by a large pipe and that section of the channel is now unused. The channel has remained largely intact (unlike sections at Greensborough and Bundoora where long lengths of the disused aqueduct have been demolished or filled in). The M.M.B.W. relinquished control of the disused aqueduct reserve which is crown land and the Shire of Eltham took control of this section of the reserve as a linear park. The Maroondah Aqueduct is considered to be an important historic structure, not just to the local area but to the metropolitan area generally. It is considered important to preserve substantially intact long lengths of the disused aqueduct, together with its bridges and other associated structures. 35 mm colour positive transparency (1 of 5) Mount - Agfachrome Agfa CS System black 8 dotsactivities, heritage excursion, maroondah aqueduct, research (vic.), shire of eltham historical society

An inspection tour of the Maroondah Aqueduct was undertaken by the Shire of Eltham Historical Society on Sunday, March 22nd, 1981, commening where the aqueduct crosses Main Rd., Research, just below Eltham College. The Maroondah Aqueduct was part of Melbourne’s water supply system. It carried water over the 66 km from the Maroondah Reservoir on the Watts River at Healesville to the Preston Reservoir. Of this length, 41 km were open channel, 10 km, tunnel through hills and 15 km in 14 inverted siphons across stream valleys. The route of the aqueduct is north of Tarrawarra and Yarra Glen, along the Yarra escarpment south of Christmas Hills and crossing Watsons Creek into the present Shire of Eltham near Henley Rd. The eastern part of the route lies entirely within the former boundaries of the shire. The aqueduct passes south of Kangaroo Ground to Research and crosses the Diamond Creek by siphon at Allendale Rd., Eltham North. It then extends to Reservoir via St. Helena, Greensborough North and Bundoora. Water first flowed through the aqueduct in February 1891 when it was fed by a diversion weir on the Watts River. Records of the building of the aqueduct indicate that it was a significant construction achievement. The present Maroondah Reservoir was completed in 1927 and the aqueduct was enlarged at that time to take increased flows. About 1971 the section of the aqueduct through and north of Research was replaced by a large pipe and that section of the channel is now unused. The channel has remained largely intact (unlike sections at Greensborough and Bundoora where long lengths of the disused aqueduct have been demolished or filled in). The M.M.B.W. relinquished control of the disused aqueduct reserve which is crown land and the Shire of Eltham took control of this section of the reserve as a linear park. The Maroondah Aqueduct is considered to be an important historic structure, not just to the local area but to the metropolitan area generally. It is considered important to preserve substantially intact long lengths of the disused aqueduct, together with its bridges and other associated structures. 35 mm colour positive transparency (1 of 5) Mount - Agfachrome Agfa CS System black 8 dotsactivities, heritage excursion, maroondah aqueduct, research (vic.), shire of eltham historical society

An inspection tour of the Maroondah Aqueduct was undertaken by the Shire of Eltham Historical Society on Sunday, March 22nd, 1981, commening where the aqueduct crosses Main Rd., Research, just below Eltham College. The Maroondah Aqueduct was part of Melbourne’s water supply system. It carried water over the 66 km from the Maroondah Reservoir on the Watts River at Healesville to the Preston Reservoir. Of this length, 41 km were open channel, 10 km, tunnel through hills and 15 km in 14 inverted siphons across stream valleys. The route of the aqueduct is north of Tarrawarra and Yarra Glen, along the Yarra escarpment south of Christmas Hills and crossing Watsons Creek into the present Shire of Eltham near Henley Rd. The eastern part of the route lies entirely within the former boundaries of the shire. The aqueduct passes south of Kangaroo Ground to Research and crosses the Diamond Creek by siphon at Allendale Rd., Eltham North. It then extends to Reservoir via St. Helena, Greensborough North and Bundoora. Water first flowed through the aqueduct in February 1891 when it was fed by a diversion weir on the Watts River. Records of the building of the aqueduct indicate that it was a significant construction achievement. The present Maroondah Reservoir was completed in 1927 and the aqueduct was enlarged at that time to take increased flows. About 1971 the section of the aqueduct through and north of Research was replaced by a large pipe and that section of the channel is now unused. The channel has remained largely intact (unlike sections at Greensborough and Bundoora where long lengths of the disused aqueduct have been demolished or filled in). The M.M.B.W. relinquished control of the disused aqueduct reserve which is crown land and the Shire of Eltham took control of this section of the reserve as a linear park. The Maroondah Aqueduct is considered to be an important historic structure, not just to the local area but to the metropolitan area generally. It is considered important to preserve substantially intact long lengths of the disused aqueduct, together with its bridges and other associated structures. 35 mm colour positive transparency (1 of 5) Mount - Agfachrome Agfa CS System black 8 dotsactivities, heritage excursion, maroondah aqueduct, research (vic.), shire of eltham historical society

An inspection tour of the Maroondah Aqueduct was undertaken by the Shire of Eltham Historical Society on Sunday, March 22nd, 1981, commening where the aqueduct crosses Main Rd., Research, just below Eltham College. The Maroondah Aqueduct was part of Melbourne’s water supply system. It carried water over the 66 km from the Maroondah Reservoir on the Watts River at Healesville to the Preston Reservoir. Of this length, 41 km were open channel, 10 km, tunnel through hills and 15 km in 14 inverted siphons across stream valleys. The route of the aqueduct is north of Tarrawarra and Yarra Glen, along the Yarra escarpment south of Christmas Hills and crossing Watsons Creek into the present Shire of Eltham near Henley Rd. The eastern part of the route lies entirely within the former boundaries of the shire. The aqueduct passes south of Kangaroo Ground to Research and crosses the Diamond Creek by siphon at Allendale Rd., Eltham North. It then extends to Reservoir via St. Helena, Greensborough North and Bundoora. Water first flowed through the aqueduct in February 1891 when it was fed by a diversion weir on the Watts River. Records of the building of the aqueduct indicate that it was a significant construction achievement. The present Maroondah Reservoir was completed in 1927 and the aqueduct was enlarged at that time to take increased flows. About 1971 the section of the aqueduct through and north of Research was replaced by a large pipe and that section of the channel is now unused. The channel has remained largely intact (unlike sections at Greensborough and Bundoora where long lengths of the disused aqueduct have been demolished or filled in). The M.M.B.W. relinquished control of the disused aqueduct reserve which is crown land and the Shire of Eltham took control of this section of the reserve as a linear park. The Maroondah Aqueduct is considered to be an important historic structure, not just to the local area but to the metropolitan area generally. It is considered important to preserve substantially intact long lengths of the disused aqueduct, together with its bridges and other associated structures. 35 mm colour positive transparency (1 of 5) Mount - Agfachrome Agfa CS System black 8 dotsactivities, heritage excursion, maroondah aqueduct, research (vic.), shire of eltham historical society

Taken on an unknown date, depicted is a portrait of a young, unidentified male soldier kneeling beside a grave in a cemetery. He is dressed in an Australian military uniform. The cemetery pictured is the Arnos Vale Cemetery in Bristol, United Kingdom. There are multiple crosses marking graves in this photograph, all marked in memory of different soldiers who fought with the Australian Imperial Force (AIF) during World War I. It is believed that the soldier who is kneeling was also part of the Australian Imperial Force. This can be inferred by the chevron rank insignia visible on the uniform. The placement of this insignia on the sleeve of the right arm suggests that this soldier was either a Warrant Officer or a Non-Commissioned Officer (NCO). Another signifier of the Australian Imperial Force uniform are the three inverted chevron stripes positioned on the lower part of the left sleeve, near the wrist. These are called Good Conduct Stripes and were worn by Warrant Officers and NCOs. This patch consisted of a single chevron stripe for each year of military service meeting certain requirements of good conduct. Additionally, the man in this photograph is also wearing a 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force. Furthermore, the grave that this unidentified soldier is kneeling next to is the resting place of Private John James (J. J.) Simpson. He was born in Stanley, Victoria in 1883. He enlisted in the Australian Imperial Force in Melbourne, Victoria on 12 July, 1915, with the service number 4909. John James Simpson was then posted to the 60th Company Depot at Seymour for military recruit training. John James Simpson was reported wounded in action in France on 19 July, 1916. He was admitted to 13th General Hospital, France with gunshot wounds to his legs. From Boulogne, France, he traveled to the United Kingdom aboard the Hospital Ship 'St. Denis' for medical care. Upon arrival, he was admitted to 2nd Southern General Hospital, Bristol, England on 27 July, 1916. John James Simpson passed away from his wounds on 1 August, 1916. He was 33 years old.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular photograph printed on matte photographic paper mounted on card.Obverse: A.I.F. / AUSTRALIA / 441, PTE.T. / T (?) / 26B (?) / 6.1.17 / (?) / LANGTON RD. / ST. ANNES PK. / BRISTOL / A.I.F. / AUSTRALIA. / 708, GNR B.L.CRAWFORD. / FR / 5 D.A.C. / 13.2.17 / A.I.F. / AUSTRALIA. / 4481, P (?) D.MORRIS. / (?) / 31.12.(?) / A.I.F. / AUSTRALIA. / 4909, PTE J.J.SIMPSON. / 608(?) / 1.8.16 / Winchester / LANGTON RD. / ST. ANNES PK / BRISTOL / Reverse: 2641 /military album, military, war, world war i, wwi, australian imperial force, aif, j. j. simpson, uniform, cemetery

It is believed that the photograph on the obverse side of the postcard was taken in 1918. Depicted are ten Australian male soldiers. Their names are transcribed in pencil on the reverse side of the postcard. Each soldier is dressed in a formal military uniform. It is believed that these soldiers were part of The Australian Imperial Force during World War I. This can be inferred by the chevron rank insignia visible on the uniforms of nine of ten men. The placement of this insignia on the sleeves of their right arms suggests that they were either Warrant Officers or Non-Commissioned Officers (NCO). Specifically, the number of chevron stripes - here, nine men have three - are believed to signify a Corporal rank. The men pictured on this postcard are also wearing 'Rising Sun' collar badges on their coats. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force. Another characteristic of the Australian Imperial Force uniform are the rectangular colour patches worn by all men on this postcard. In March 1915, a new scheme of unit identification was devised to replace the wearing of unit titles. This consisted of cloth colour patches on the upper arms of a soldier’s tunic. The black and white nature of the record means that we cannot establish which battalion these soldiers were part of. However, one of the handwritten signatures on the reverse side of the postcard reads "W.A. Griggs". This was the signature of Sergeant William Archibald Griggs. Further research shows that Griggs was part of the 5th Australian Division Signals Company. Therefore, it is believed these soldiers were part of the ANZAC Signal Companies. The main role of the Signal Companies during World War I was the laying and maintenance of telephone cables and switchboards, used to connect various units in their area. Furthermore, the man standing in the back row, third from the left side, has an Overseas Service chevron patch on his coat. In January 1918, the Australian Imperial Force approved the wearing of the overseas service chevrons which had been adopted by the British Army. These were embroidered or woven inverted chevrons worn above the cuff on the right arm. Due to a shortage of supply, some men had chevrons privately made. For each year of war service, a blue chevron was awarded, and those men who had embarked in 1914 received a red chevron to indicate that year’s service; however, the black and white nature of the postcard makes it difficult to determine what colours are on this man's patch.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Black and white rectangular postcard printed on paper.Obverse: Oh 'Serg!' / Reverse: CARTE POSTALE / 6537 / Correspondance / Adresse / w.a. Grigg / J. Fain / Ruckling / R.J Farrar / (?) / Clarke / L (?) / GFFisher / R. M. Forrest / With Compliments / Sgt's Mess / November 1918 /military album, army, aif, uniform, military, wwi, world war i, rising sun badge, william archibald griggs, anzac, signal companies, postcard, patches, chevron

The Optacon OPtical-to-TActile-CONverter is a compact, portable reading aid for the blind. It is about the size of a textbook, and weighs less than 2kg. It works by converting a printed image into a tactile image that a blind person can feel with one finger. After a period of training and practice, a blind person can use the Optacon to read ordinary books, magazines, newspapers, and other printed materials. The Optacon was developed after intensive research at Standford University, California, USA and was trialed by clients of the Royal Victorian Institute for the Blind (now part of Vision Australia) in 1973. It has three main sections: 1 a miniature camera, 2 an electronics section, and 3 a tactile stimulator array. The miniature camera, about the size of a pocket knife, is mounted in a housing that has rollers for easy movement along a line of print. The camera is connected to the electronics section by a lightweight cable. The electronics section and the tactile stimulator array are in the main chassis. The array consists of 144 tiny metal rods arranged in six vertical columns and 24 horizontal rows. Each of the rods can vibrate independently. The tips of these rods protrude through holes in a concave finger plate where the index finger is placed flat in order to read. These three components act together to convert the image of a printed letter or other shape into a pattern of vibrating rods, a tactile image of the letter or shape. The letter shape is tactually perceived as an image that moves from right to left on the finger, showing the left or leading edge of the letter first. Letters are felt sequentially rather than all at once, and the image should be kept moving. The Optacon converts a printed O into a tactile form that resembles a crater with a vibrating rim -- a completed circle. C would have a gap or opening on the right side of the curve. The letter F would be felt, sequentially, as a vertical line with two trailing horizontal lines. Because it can convert any ordinary printed image into a corresponding tactile image, the Optacon is not restricted to any special typestyle or language. The camera has a zoom lens that compensates for differences in the size of type. The standard Optacon lens can accommodate type sizes from 6 point to 20 point. With the optional F4A magnifier lens, type sizes as small as 4 point can be read. Powered by a rechargeable battery, and comes with its own battery charger. The battery is contained within the main chassis, and is not removable by the user. There are four basic controls on the Optacon: the Magnification Adjustment zoom button located on the camera section on the side opposite the rollers; and the On-Off switch, the Stimulator Intensity Adjustment knob, and the Threshold Adjustment knob located on the right side of the front panel. The Circuit Breaker protrudes from the right-hand wall inside the chassis compartment. From left to right when the back panel is facing you, are located: the jack for connecting the battery charger; the Battery Check button; the Normal-Invert switch; and the Input/Output I/O connector for use with the Visual Display, when using the Repeater Cable to connect two Optacons to one another or with other accessories. Designed not be removed from the leather case during normal operation, the On-Off switch is a slide switch located on the right side of the front panel. It slides up and snaps into place in the on position. 1 black with orange front, rectangular device in leather case assistive devices, audio equipment

Emlyn Williams as Charles Dickens. Giving a Solo Performance of Scenes from the Famous Novels and Stories. Tour of New Zealand and Australia, 1958. D D O'Conner Productions Ltd.., in association with the Australian Elizabethan Theatre Trust. 1 Moving in Society. 2 Paul. 3 Mr Bob Sawyer Gives a Bachelor Party. 4 The Signalman. 5 Mr Chops. 6 The Fancy Ball. The Adoptions . . . The Desk . . . The Nature of the Performance. During the fifties of the last century, Charles Dickens, at the Height of his fame as a novelist, ventured on something quite new; he gave, in Birmingham, a public 'reading' of one of his stories. This turned out to be an historic occasion, opening up an extraordinary career for the great writer. Each 'Reading' was more sensationally successful than the last. The word was put into inverted commas because nothing could have been less like reading than Dickens's dramatic performance. Something like a hundred years later at the Criterion Theatre, EMILYN WILLIAMS appeared before the London public 'as Charles Dicken's, giving a solo performance of scenes from the novels.' At this point the actor had been a star of . . . Personal Manager for Emlyn Williams: Alan Cambell. Stage Director: Tony Ward. Secretary and Accountant: Aubrey Thomas. Manager for the Australian Elizabethan Theatre Trust: Mary Rawdon. EMILYN WILLIAMS. Emlyn Williams, as actor, playwright of director (often in all three capacities simultaneously) has been in the theatre since he acquired the degree of M.A. and shook from his feet the dust of Oxford. Born in Flintshire, North Wales, in 1905, the son of a village inn-keeper, he spoke only Welsh as a child and learned English at school - a boyhood freely depicted in his comedy, 'The Druid's Rest.' At the age of ten he won a scholarship to the local Holywell County School, and at the age of seventeen another scholarship (in French) to Christ Church, Oxford. Once at the University hw discovered the theatre, by means of the Dramatic Society, and realized at once it was to dominate his life. While he . . . Includes photo of E Williams. Advertisement for DECCA Records, Emlyn Williams as Charles Dickens, Volume 1.Back cover photograph of Emlyn Williams. Second Programme in Australia: Emlyn Williams as 'A Boy Growing Up' An entertainment from the stories of Dylan Thomas. 'Gorgeously Funny' - The observer, London. Cover well decorated with sketches and photo of Emlyn WilliamsPeerless Press Pty. Ltd.cottage, miners, emlyn williams as charles dickens. giving a solo performance of scenes from the famous novels and stories. tour of new zealand and australia, 1958. d d o'conner productions ltd.., in association with the australian elizabethan theatre trust. 1 moving in society. 2 paul. 3 mr bob sawyer gives a bachelor party. 4 the signalman. 5 mr chops. 6 the fancy ball. the adoptions . . . the desk . . . the nature of the performance. during the fifties of the last century, novelist, ventured on something quite new, in birmingham, a public 'reading'. an historic occasion, opening up a career 'reading' criterion theatre solo performance novels.' actor had been a star of . . . personal manager for emlyn williams: alan cambell. stage director: tony ward. secretary and accountant: aubrey thomas. manager for the australian elizabethan theatre trust: mary rawdon. actor, playwright of director (often in all three capacities simultaneously) degree of m.a. oxford. born in flintshire, north wales, in 1905, village inn-keeper, spoke welsh learned english at school. comedy, 'the druid's rest.' won a scholarship to the local holywell county school, and at the age of seventeen another scholarship (in french) to christ church, oxford. university he discovered the theatre, dramatic society. photo of e williams. advertisement for decca records, as charles dickens, volume 1.back cover photograph of emlyn williams. second programme in australia: emlyn williams as 'a boy growing up' stories of dylan thomas. 'gorgeously funny' - the observer, london.

In the 1650s, the newest exciting development had arrived on Britain’s shores, this time it was tea from China. As it was brought back from overseas, tea was incredibly scarce and as such its price was very high; in 1664, the cost of tea was already 40s per pound, although this is not as high as what it would become when taxed in the 18th century. This resulted in only the social elite enjoying a cup of tea, and most commonly tea was enjoyed in coffee houses, and teapots were therefore not yet a household item. As the East India Company imported larger quantities of tea, it became more widely available and a larger section of the British population were able to enjoy it meaning that, by 1669, tea was available nearly everywhere. Likely due to the fact that tea was first enjoyed in coffee houses, the first known teapot resembles a coffee pot, with a tapering cylindrical shape and standing much taller than what we now know as a teapot at 13.5 inches tall. Into the 1680s, these teapots were given a conical cover for the spout that was fixed to the pot via a chain. As Queen Anne took the throne in 1702, teapots had become much more widely used and had formed two common groups. The first style of teapot was the pear shaped style which began to appear in 1705. The pear shaped pot usually had a domed lid and sometimes featured a finial. This form was generally supplied with a heater and stand as well as having a baluster shaped handle on one side. This iteration would disappear by 1725 but does make a reappearance in the 1740s, only this time as an inverted pear shape. The second group was the more spherical, or globular, shape which appeared in 1710. The globular teapot had a flush, hinged lid as well as a narrow moulded rim foot and a straight sided, tapering spout. Both generalised groups of teapots have polygonal examples – that is, teapots that are made up of straight sided segments – but six or seven sided teapots are incredibly rare. There is one known example of a seven sided globular teapot, made by Isaac Ribouleau in 1724. This is so unique because polygonal teapots are much more technically difficult and time consuming to make. Other than the occasional band of engraving round the shoulder of the teapot, they remain quite plain until c.1740 when scrollwork and chased shells begin to be applied for decoration. ‘Chasing’ is the process of decorating the front of a piece of metal by indenting the back, without cutting or engraving. From 1755 until 1770, silver teapots became incredibly uncommon and it is likely that this either reflects a change in drinking habits or changing trends producing a favour for porcelain. This dip in popularity could also be in response to the outrageous taxes placed on tea, up to 119%! In 1765, the Leeds creamware globular teapot seemed to kickstart a resurgence and this, combined with the Commutation Act of 1784 – which reduced tax on tea from 119% to 12.5% – saw teapots return in all their forms. It’s around this time, in 1780, that a form of teapot with a detachable, openwork stand appeared; however, the plain, oval teapot remained the most popular in the 1780s and 90s. In the later years of George III’s tenure on the throne, during the last decade of the 18th century, there was a revival of chasing and embossing teapots with flower and foliage designs. At the turn of the century, the spherical, partly fluted teapot with classical decoration was superseded by a more oblong shaped pot that sat on four spherical feet. This was then changed again when teapots became more melon shaped. It was at this time that the capacity of a teapot greatly increased and the previously wooden or ivory handles were replaced by silver handles with ivory washers for insulation. As Britain entered into the Victorian era, the design quality often suffered as there was a tendency to over-decorate the silver. In the early 19th century, the last major addition to the shape of the teapot, a raised collar was added between the cover and body. Whilst this seems to just be for decoration, there is some speculation that it could also be to prevent overspills. https://www.marklittler.com/silver-teapots-history/ This item shows that silver and silver plated teapots were used for tea making.Plain sliver teapot. Heavy oxidation. Dented.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, teapot, silver, siver plate, tea

Opened in 1891, the bridge formed part of the Maroondah Aqueduct carrying water from Watts River near Healesville to the reservoir at Preston where it joined Melbourne's metropolitan water system. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p99 Built to supply thirsty Melbourne in the late 19th century, the siphon bridge spanning the Plenty River off Leischa Court, Greensborough, was part of an engineering masterpiece. Opened in 1891, the bridge formed part of the Maroondah Aqueduct carrying water from the Watts River near Healesville to the reservoir at Preston where it joined the metropolitan distribution system. A major link in Melbourne’s water supply, it also had a huge impact on communities, which mushroomed along its route. Named after the Aboriginal word for the area around the Maroondah Reservoir, the Maroondah Aqueduct was fully operational until the 1970s. Since the 1980s the land along parts of the aqueduct have been used for walking and bicycle riding, shaded in places by Monterey Pine trees planted to stabilise the surrounding ground. From 1857 the Yan Yean Reservoir supplied Melbourne’s water but the growing city needed additional catchments.1 In 1886 work began on a weir on the Watts River to enable the aqueduct to carry most of the river water 41 miles (66km) to Melbourne. The aqueduct, built by the Board of Works, is the oldest remaining aqueduct near Melbourne and was probably the first built with concrete.2 Although the aqueduct is now only used between the Maroondah and Sugarloaf Reservoirs, it can still be traced across the Shire. It extends from the Maroondah Reservoir through Christmas Hills, Kangaroo Ground, Research, Eltham, St Helena and then previously wound west through Greensborough to Reservoir.3 Built by horse and manpower the aqueduct gravity fed 25 million gallons (113.6ML) of water a day to Melbourne along a gradient of one foot to the mile. It included 25 miles (41km) of open concrete and brick channel, six miles (10km) of tunnels, and nine miles (15km) of 14 inverted siphons of riveted wrought-iron across creeks. Bricks for the aqueduct were made from clay found near the sites and remains of several kilns can still be found between Kangaroo Ground and Christmas Hills. Building the aqueduct transformed local communities. An abattoir was established at Christmas Hills. Grog shanties and labourers’ camps sprang up and local courts dealt with cases of ‘petty pilfering and boisterous behaviour’.4 The Kangaroo Ground school population jumped to 91, crammed into a room with one teacher. Miners who built the tunnels camped just north of Churinga in Greensborough – then called Tunnel Hill Camp – and adjacent to the Evelyn Arms Hotel. The miners’ high spirits were sometimes quenched in horse troughs or by a ‘welt under the ear and kick on the behind’ as the local constable calmed them down rather than lock them up.5 But the growing city of Melbourne needed more water, so the O’Shannassy catchment, east of Warburton, was added to the system in 1914. In 1920 work began on the present concrete Maroondah Dam one mile (1.6km) from the weir on the Watts River. The aqueduct capacity was thus doubled to 50 million gallons (227ML) a day.6 Intense land development threatened to pollute the open water supply, so channel sections were replaced with large pipes. In the late 1960s a large water main was built from the tunnel outlet at Research and extended through St Helena and Greensborough, so this section of the aqueduct was taken out of use. Long sections of the unused open channels in Greensborough and Bundoora were destroyed, but the old channel in Research and Eltham North remained largely intact. In the 1970s, the Sugarloaf Reservoir was constructed, inundating 445 hectares of land in Christmas Hills. Sugarloaf was officially opened in 1980 and serves as a water storage and treatment plant supplying Melbourne. In the early 1980s pipes replaced the section from Sugarloaf Reservoir to the tunnel entrance at Kangaroo Ground. The Research-Kangaroo Ground tunnel operates as part of the pipeline system.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, maroondah aqueduct, pipe bridge, siphon bridge

Edna Barrie at the cairn, photo received from Graeme Minns in 1988. The cairn marks the site of Jimmy Melrose's plane crash in Melton South. The accident which happened on July 5th 1936. In 1934 Melrose made headlines with a series of spectacular flights. In July of that year, he set around Australia record and in that year established a new solo Australia England record when he flew to England to compete in the MacRoberston race with a De Havilland Puss Moth VH- YQO. The only Australian and the only solo pilot to complete the course within the time limit. He was seventh in finishing order and third in the handicap section making news again during the race with a dramatic landing in Darwin with empty fuel tanks. Late in 1935 Melrose imported the Phoenix for his “Adelaide to Anywhere” Charter Service. The previous year the Heston Aircraft Company had taken over the interests of the well known Comper Aircraft Company, and the first production of the new firm was the Phoenix, a single-engined all wooden five seater machine of sesquiplane configuration. The forward half of the fuselage was a streamlined rectangular section and the rear portion was a monocogue shell; the whole was of plywood fabric covered. The wing was built up of spruce box spars and lattice ribs, ply covered from the leading edge to the front spar and the fabric covered over the remainder. The tail surfaces were of similar construction. The most notable feature of the design was the lower stub wing which ran right across the fuselage embodying two box spars, plywood covered it housed the main undercarriage wheels when retracted and provided a substantial anchorage for the Nu form wing struts. The Dowty undercarriage retracted inwards, operated manually by hydraulic packs, Dual control fitted, with side by side seating for the pilots and three passenger seats behind. Power was a 200 h.p. De Havilland Gipsy VI 6 cylinder inverted in-line air-cooled engine. Six Phoenix were built; five of them registered in Great Britain and one of those was later sold abroad the remaining four were impressed into the R.A.F. in 1940. Specifications were: 40 feet 4 inches length 30 ft 2 ins height, 9ft 7ins, wing area 270 sq ft, Tare weight 2,600lbs loaded weight 3,300lbs; cruising speed 360 m.p.h. landing 50mph ceiling 14,000 ft range 700 miles. Melrose’s machine the first production aircraft was built early in 1936 and test flown of the 24th March. Painted green it carries the words “South Australian Centenary 1936” in silver of the fuselage and the name “Billing on the engine cowling in honor of Melrose’s uncle Noel Pemberton Billing, pioneer designer and founder of the Supermarine Aviation Company. The delivery flight was planned as a goodwill mission to publicise the forthcoming South Australian Centenary celebrations. Melrose left Dympne on the 9th April 1936, and flying via Marseilles, Naples, Athens, Baghdad, Basra, Karachi, Jodphur, Calcutta, Akyab, Penang, Singapore, Lombok, Darwin, Newcastle Waters and Alice Springs reached Adelaide on the 25th of April. Continuing the goodwill flight to other States, he visited Melbourne, Sydney, Newcastle, Grafton, Brisbane, Coff’s Harbour, Sydney again, Launceston, Hobart and Mount Gambier before returning to Adelaide on the 13th May. During June Jimmy made some charter flights and early in July was engaged by Mr. A.J. Campbell a director of several mining companies from Melbourne to Darwin to commence at Essendon on the4th July. However on that day low cloud and steady rain caused the postponement. There was little improvement and Melrose was advised to delay the departure again. However he wished to reach Oodnadatta that night, and when he observed the break in the clouds decided to leave. He planned to climb above the cloud and fly to Adelaide at 3,000 feet. The aircraft was airborne about 8.10 a.m. and was last seen from Essendon climbing above the clouds. At 8.45 people at Melton (30 miles West of Melbourne) heard an approaching aircraft. The engine noise increased abnormally and eye witnesses saw the machine fall out of control from the cloud base about 800 feet and then disintegrate, fragments were scattered for 1½ miles and both occupants were killed. Hand written carbon copy by Edna Barrie.Typed by Wendy Barrie March 2014 Last Flight of Jimmy Melrose by John Burke Parade Magazine July 1972 Page 2 –4 This article gives the take off time of 7.50 am from Essendon Airport Eyewitness account at the time Maisie Arthur’s description. Newspaper article. Edna Barrie at the site of the 'Cairn'local identities, local significant events

BHS CollectionWaist length dark green cotton bodice. Fabric has alternating stripes of pulled thread pattern and wider stripes of small dot pattern. Front opening with deep V to waist with lined lace insert extending from throat to waist. LHS of bodice fastened to lace insert with five press studs. Stand up collar of lined black lace (%cm) fastened with two hook and eyes. The bodice is made from five pieces. The two front sections have three knife pleats facing out and falling from the shoulder. The pleats are stitched down for twenty cms from the shoulders. On either side of the front opening is decorative embroidered black lace that extends across the shoulders to the back of the collar. There are two side panels from under the arm. The back section has three box pleats falling from the collars and tapering to the waist. The hem of the bodice is fastened with black cotton tape. Leg of mutton sleeves are trimmed with black embroidered brais at elbow and wrist. Lower sleeves have pintucks from elbow to wrist. The sleeves are lined with black cotton fabric. The back of the bodice is lined with black cotton fabric almost to the hem. A three cm piece of white and blue cotton tape is attached across the lower back with cotton ties at either end. The underarm panels are lined with brown cotton fabric and green satin inserted sections. The front has a separate lining with front opening and shaped with darts. Fastened with six buttons and buttonholes. Two shoulder pads on each side- one white piece under the shoulder and a green satin piece under the gathered section of each sleeve. Dark green full length skirt. Cotton fabric with alternating stripes of pulled thread pattern and wider stripe of small dot pattern. Skirt is made of three sections. Centre front panel widens slightly to hemline. Side panels continue around to join at centre back. Darts at both hips to shape sides. Panels widen to hemline. Inverted pleats at either side of back opening create fullness. Back opening(30cm) has insert of black satin joined to LHS of opening to enlarge the opening. Insert attached to waist band with two press studs. Two other press studs attach skirt to RHS of insert. Brown cotton waistband hand stitched to skirt. Ties attached to waistband at back opening- one cotton tape, one satin ribbon. Front centre panel has a piece of black satin stitched as lining from eighteen cm below waist (57cm deep). Stitched across and attached to side seams. Lower edge trimmed with black lace. Second piece of satin lining stitched to centre seam and stitched around the hip to partway across back.(Looks like a nylon petticoat cut in two pieces and stitched inside skirt as a lining). Hemline has fifteen cm piece of cotton lining attached and lower edge of hem has fringed cotton binding attached.. Side seams of front panel have decorative trim of embroidered braid extending seventy-six cms from waist. Braid then turned ninety degrees and continued in a horizontal zig zag line around to centre back seam (both sides) twenty cms above hem. Hand and machine stitched.costume, female, ladies dress- bodice.

My paintings reflect upon the peculiar state of our existence in the pandemic ravaged world: a microscopic and invisible virus has wreaked havoc and revealed the fragility of the human race regardless of our technological and economic advancements. Overwhelmed by the hostile environment, our once arrogant bodies are depersonalized, suspended, fragmented, perplexed and isolated. Mixed with different races, colours and genders, the new bodily world is an imaginative vision of the post pandemic psyche. The lines and shapes delineate an space with new boundaries and depth, full of aching, longing, order less and distorted bodies forming an assemblage endlessly floating on the blue surface, gasping for air, emerging and submerging, shrinking and extending. COVID-19 is a wakeup call for us to rethink our relationship with technology and environment in order to create new control, purpose and identities, which we need to help future generations to survive. Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it