The construction of the lifeboat ‘Warrnambool’ began 15th September 1909 and was completed almost 12 months later, 1st September 1910. It was built at the Government Dockyard in Williamstown, Victoria, along the lines designed by the Great Britain’s Royal Lifeboat Institution, and included whaleback decks fore and aft, mast and centreboard, and rudder and tiller hung from the sternpost. It could be propelled by both sail and oar. At that time Captain Ferguson was Chief Harbour Master and Mr Beagley was foreman boat builder when he and his fellow workmen built the boat. The boat was described as “… a fine piece of workmanship and does credit to her builders and designers…” It had all the latest improvements in shape, disposition of weight and watertight compartments, and it had space for a large number of people in addition to the crew. It appears that 'H Meiers' whose signature, along with building dates, is pencilled on a concealed timber 'plaque' in the hull, was involved with the building of the lifeboat. It is interesting that the ‘Melbourne Directory’ of 1911, published by Sands and MacDougal, lists McAuley and Meiers, boat builders, Nelson Place foreshore, between Pasco and Parker Streets, Williamstown, (Victorian Heritage Database, ‘Contextual History, Maritime Facilities’), It is probably the company of the person whose name is inscribed on the lifeboat plaque. Flagstaff Hill’s documentation also mentions that the keel was laid at ‘Harry Myers, boat builders, Williamstown, Melbourne’ – the name ‘Myers’ can also be spelled ‘Meiers’, which could be the same person as the Meiers in “McAuley and Meiers” (as mentioned in genealogy lines of Myers). The new lifeboat, to be named ‘Warrnambool’ was brought to town by train and launched at the breakwater on 1st March 1911 using the Titan crane (the old lifeboat built in 1858, was then returned to Melbourne in 1911). This new lifeboat was stationed at Warrnambool in a shed located at the base of the Breakwater, adjacent to the slipway. A winch was used to bring it in and out of the water. The lifeboat ‘Warrnambool’ was similar in size to the old lifeboat but far superior in design, build and sea-going qualities such as greater manoeuvrability. The ‘self-righting, self-draining’ design was “practically non-capsizeable” and even if the boat overturned it would right itself to an even keel and the water would drain away. The hull was built of New Zealand Kauri, using double diagonal planking, laid in two layers at right angles, with a layer of canvas and red lead paint between the timbers to help seal the planking. It has “… plenty of freeboard, high watertight spaces between the deck and bottom… through which pipes lead…” The backbone timbers were made of Jarrah. The lifeboat Warrnambool was one of several rescue boats used at Port Fairy and Warrnambool in early 1900's. In late 1914 the Warrnambool lifeboat and crew were used to help find what was left of the tragic wreckage of the Antares, and were able to discover the body of one of the crewmen, which they brought back to Warrnambool. Between 1951 and 1954 the lifeboat was manned under the guidance of Captain Carrington. He held lifeboat practice each month on a Sunday morning, to comply with the Ports and Harbour’s request that lifeboats be manned by a strong and competent crew, ready for action in case of emergency. In the early 1960’s it ended its service as a lifeboat and was used in Port Fairy as a barge to help dredge the Moyne River, bolted to the Port Fairy lifeboat. Flagstaff Hill obtained the Warrnambool in 1975. In 1984 it was on display at Flagstaff Hill Maritime Village, Warrnambool. On 23rd May 1990 she was lifted from the water and placed in a cradle for restoration. The name ‘WARRNAMBOOL could be seen faintly on the lifeboat before it was restored. It was during the restoration that Flagstaff Hill's boat builder discovered the 'plaque' inside the hull. A copy of the blueprint plans has the name “V.E.E. Gotch” printed on it. His advertisement in Footscray’s ‘Independent’ newspaper of Saturday 11th May 1901 states he is “Principal and Skilled member (Naval Architect) to the Court of Marine Inquiry of Victoria and holds classes for naval architectural drawing and arithmetic.”The lifeboat WARRNAMBOOL is significant for its half century service to the local community as a lifesaving vessel. She was also used to help retrieve the body of a shipwrecked crew member of the ANTARES. Lifeboat "Warrnambool", a wooden, clinker hull, 'self-righting, self-draining design, single mast, pivoting centreboard. Complete with sail and yardarm. A 'plaque' was found inside the hull of the lifeboat, made of untreated wood, disc-shaped with one straight edge (Diam 15.5cm), inscribed by one of the boat builders in pencil script "Life Boat Start building / 15/9/09 - complete 1/9/10 / (signature looks like H Meiers) / Boat Builder)."'Plaque' inside body of boat is inscribed in pencil, script writing "Life Boat Start building / 15/9/09 - complete 1/9/10 / (signature looks like H Meiels) / Boat Builder)." flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lifeboat, life boat, vessel, life saving, 1910 vessel, port fairy, boat builder plaque, rescue boat, beagley, williamstown, government dockyard, v.e.e. gotch, royal lifeboat institution, captain ferguson, meiers, nelson place, non-capsizeable, self-righting, titan crane, double diagonal planking, captain carrington, barge, antares, self righting, crew of twelve, capacity of 30 survivors

The Rev. Ronald W Albiston 28/9/1919–16/08/2006 was educated at Melbourne Boys' High School, the Victorian Congregational College and the University of Melbourne. From a young age he held positions within the local church, was secretary of the East Kew Congregational Church at the age of 16, as well as superintendent of the Sunday School from the age of 15. Ron was supported during his life and ministry by his wife of 63 years, Dorothy. He was ordained at Northcote Congregational Church on 21 December 1942. His ministry was exercised in Northcote/Clifton Hill (1942–45), Yarrawonga and associated district (1945–50), Ballarat Dawson Street and "Zion" Sebastopol (1950–68), and Rockdale Congregational, Sydney, later Uniting (1968–83). Due to ill health, Ron retired on the 30th of April 1983. He was President of the Australian Council of Churches from 1971 to 1973, President of the Congregational Union of NSW from 1973 to 1975. As a member of the Joint Planning Committee he was involved in the development of the Uniting Church and inaugural Chairperson. Following union, he was a member and later Chairman of the Board of Social Responsibility. He was instrumental in founding the Mayflower Village for the Aged, the Rockdale Community Aid Service, and helped form the St George Community Conference.The Rev. Ronald W Albiston 28/9/1919–16/08/2006 was educated at Melbourne Boys' High School, the Victorian Congregational College and the University of Melbourne. From a young age he held positions within the local church, was secretary of the East Kew Congregational Church at the age of 16, as well as superintendent of the Sunday School from the age of 15. Ron was supported during his life and ministry by his wife of 63 years, Dorothy. He was ordained at Northcote Congregational Church on 21 December 1942. His ministry was exercised in Northcote/Clifton Hill (1942–45), Yarrawonga and associated district (1945–50), Ballarat Dawson Street and "Zion" Sebastopol (1950–68), and Rockdale Congregational, Sydney, later Uniting (1968–83). Due to ill health, Ron retired on the 30th of April 1983. He was President of the Australian Council of Churches from 1971 to 1973, President of the Congregational Union of NSW from 1973 to 1975. As a member of the Joint Planning Committee he was involved in the development of the Uniting Church and inaugural Chairperson. Following union, he was a member and later Chairman of the Board of Social Responsibility. He was instrumental in founding the Mayflower Village for the Aged, the Rockdale Community Aid Service, and helped form the St George Community Conference.The Rev. Ronald W Albiston 28/9/1919–16/08/2006 was educated at Melbourne Boys' High School, the Victorian Congregational College and the University of Melbourne. From a young age he held positions within the local church, was secretary of the East Kew Congregational Church at the age of 16, as well as superintendent of the Sunday School from the age of 15. Ron was supported during his life and ministry by his wife of 63 years, Dorothy. He was ordained at Northcote Congregational Church on 21 December 1942. His ministry was exercised in Northcote/Clifton Hill (1942–45), Yarrawonga and associated district (1945–50), Ballarat Dawson Street and "Zion" Sebastopol (1950–68), and Rockdale Congregational, Sydney, later Uniting (1968–83). Due to ill health, Ron retired on the 30th of April 1983. He was President of the Australian Council of Churches from 1971 to 1973, President of the Congregational Union of NSW from 1973 to 1975. As a member of the Joint Planning Committee he was involved in the development of the Uniting Church and inaugural Chairperson. Following union, he was a member and later Chairman of the Board of Social Responsibility. He was instrumental in founding the Mayflower Village for the Aged, the Rockdale Community Aid Service, and helped form the St George Community Conference.Informal B & W photo of the Rev. Ron Albiston. Albiston is standing, hands clasped behind back, smiling into the camera. He's dressed in a suit with clerical collar and waistcoat. The photo has been taken outdoors, possibly at a picnic."Rev. Ron Albiston"albiston, ron, congregational minister

Vassilieff dynamited rock from his own property to build his house. Stonygrad is reminiscent of a grotto and in parts, of a sculpture. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p135 Stonygrad, the home built by Expressionist painter and sculptor Danila Vassilieff, is reminiscent of a grotto and in parts, of a sculpture. Vassilieff, who amongst others influenced painter Sydney Nolan and Albert Tucker, was a member of the artists group the Angry Penguins. He was also a highly regarded art teacher at the nearby Koornong Experimental School and taught at Eltham High School. Art critic Robert Hughes described Vassilieff’s painting as ‘lyrical without social commentary’, and said Vassilieff was ‘the most oddly neglected artist in recent Australian History’. Vassilieff, who was born in 1897 in Russia, had an unusually adventurous life before he settled in Warrandyte. The 12th of 18 children, he lived on a farm in the Don Basin. Vassilieff trained with the Imperial Military Academy at St Petersburg and fought in World War One as an officer in the White Russian Army against the communists. In 1920 he was captured, then escaped from prison, stole a horse and rode bareback 150 miles to the Black Sea, helped at first by Tartar freebooters. He then travelled to India, Shanghai and arrived in Queensland as a refugee in 1923 where he began painting. He and his wife Anisia bought a sugar farm near Ingram, and later he constructed railway lines at Mataranka, in the Northern Territory.4 In 1929 Vassilieff went to Brazil for formal art training from former fellow-officer Dmitri Ismailovich, but he soon left to travel up the Amazon River. He then worked as a sidewalk artist in the West Indies and travelled for two years in England, France and Spain. In 1937 he arrived in Melbourne where he lived until his death in 1958. His first major Australian series was the Carlton streetscapes and from 1951 he sculpted in local hard limestone. Vassilieff rejected all dogma and regarded religious subjects as suitable only for decorative arts. In 1944 he helped defeat a communist attempt to take over the Contemporary Art Society. For a short time, from around 1955, Vassilieff taught at various Victorian schools. The Angry Penguins painted mainly between 1937 and 1947, and included Arthur Boyd, Albert Tucker, Sidney Nolan and Joy Hester. The group formed as they felt isolated from European thought and art (including Surrealism) from which their work was derived. They were also angry at what they considered to be the complacency and insularity of their society. They maintained Australians at first were scarcely aware of the threats of the Wall Street Crash and Hitler and were little interested in the Spanish Civil War. The Angry Penguins also objected to the White Australia Policy. Hughes said although most of the Melbourne Expressionists in the 1940s were unskilled and their work crude in style, they helped jolt Australian painting from its pastoral complacency. Their style influenced nearly every painting produced by significant figurative artists in Melbourne in the 1950s such as Charles Blackman. From 1939 Vassilieff built Stonygrad, mainly with local stone. The house stands at the end of a private road surrounded by trees with the quiet occasionally broken by the sounds of bellbirds. To build his house Vassilieff dynamited rock and cut trees from his own property. The original section of the three-level house is of irregular-shaped pieces of solid stone, exposed inside like the exterior. Vassilieff later built sections with timber and brick. Inside is rustic and cave-like, and several rooms are linked by arched openings with no doors. One undulating wall was carved out of rock from which two sculptured heads protrude. Several ceilings are of rough-hewn logs and the built-in table and bookcase are rough, as is a timber ladder leading to a bedroom. Not for the elderly or unsteady! Yet the general impression in the muted light is beautiful, with artistic originality.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, danila vassilieff, hamilton road, north warrandyte, stonygrad

Stations of the Cross by Clifton Pugh is a contempooray art piece in four sections making up 11 stations of the cross. It was commissioned by the Catholic parish in Eltham (Our Lady Help of Christians) in 1961 Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p81 Art is an important means of nurturing faith at Our Lady Help of Christians Church, Henry Street, Eltham. The Stations of the Cross by Clifton Pugh and The Crucifix with the Ascending Jesus by sculptor Charles Rocco are two of the fine works that enhance the parishioners’ worship. These two inspiring works of art were added in 2001 – long after Roman Catholics began worshipping in Eltham around 1864. This beautiful worship centre was built following hardship and change – for parishioners have endured their church being destroyed by fire and have built four churches since they first worshipped together. Before 1864, according to local legend, a visiting priest administered sacraments in the parlour of former convict-turned-respected citizen Thomas Sweeney at Sweeneys Lane, Eltham.1 The first church was blessed in September, 1865, by the Archbishop of Melbourne, Dr Goold. It stood on an acre (0.4ha) of land in Little Eltham as that area was known then, near the present Fordhams and Main Roads and was part of the Heidelberg Church Parish. In 1912 the church was relocated to a new building on the present primary school site at 1 Henry Street. This was closer to the town centre, which had moved from Little Eltham after the railway line was extended to Eltham in 1902.2 In 1958 the church split from the Sacred Heart parish, Diamond Creek, to become a parish in its own right, with Father Tom Curran as inaugural priest. Not long after in 1961, a fire destroyed the church and huge working bees under the prominent Catholic builders, the Sibbel brothers, rebuilt and extended it, using the original altar from the first church. It was then that builder and parishioner Herman Sibbel asked his friend, artist Clifton Pugh, to paint the Stations of the Cross for the church. But the priest, Father Curran, neither approved of Pugh’s bohemian reputation nor liked the paintings, so they were hung in the corridor of Our Lady’s Primary School instead. The parishioners almost sold the paintings in 1989 to pay for major school renovations. However the paintings remained there for about 40 years, until 2001, when the church was extensively renovated by Father Barry Caldwell. Another change awaited the church, as it outgrew its building, later to be used as the school hall. So, in 1976, the present church was built across the road. Three beautiful stained-glass windows depicting the Passion, Death, Resurrection and the presence of Christ’s Spirit, link these with the church’s experiences. The first depicts a bushfire in Eltham, referring to their church damaged by fire. Another represents the Resurrection of Christ with new growth on a blackened stump and the Holy Spirit is represented by the Southern Cross. A window depicting Our Lady Help of Christians by parishioner Bill Peperkamp, was donated by parishioners to commemorate the Silver Jubilee of Father Desmond G Jenkins’ ordination to the priesthood on July 27, 1977. This, with the statue of Mary, creates a Marian shrine. In the 14 Stations of the Cross painted on four masonite panels Pugh captures the pathos of the suffering Christ and his disciples.3 The figures are stylised, except intriguingly, that of Pontias Pilate, who looks like Clifton Pugh. Charles Rocco’s sculpture is an extraordinary Jesus figure being raised from the Cross. The delicate stainless steel mesh of the figure creates a sense of the power of God over death. The organ, built in 1868 by George Fincham and Sons, was first installed in the All Saints’ Anglican Church, East St Kilda, then in the St Andrews Church, Clifton Hill. It was rebuilt into a modern instrument with a donation from parishioner Jim Murray, in memory of his wife Gwendolene Mary.4 Church members created their own work of art in front of the entrance, by painting designs and messages on 700 tiles. This work indicates the strong church family and faith expressed in art, that awaits the worshipper inside.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, art, clifton pugh, stations of the cross, our lady help of christans, installation

All language educators are aware that culture is a vitally important reason for teaching languages. All curriculum statements for languages contain strong references to the importance of culture. We need to offer accessible cultural input to initiate the teaching of culture in language use, while at the same time not simplifying or stereotyping the community that speaks the language we are teaching. This book takes up these important questions and places in the hands of teachers well researched but very practical guidance, advice, resources and information on teaching culture in language. In this book you will find a discussion of what researchers, and classroom teachers, think and do about culture in language education and you will find a rich array of practical resources and advice for enhancing classroom practice. Specific languages addressed are: Chinese, French, German, Italian, Japanese and English as a Second Language. Preface /? Joseph Lo Bianco 1. Common themes /? Joseph Lo Bianco 2. Culture: visible, invisible and multiple /? Joseph Lo Bianco 3. A conceptual framework to help teachers identify where culture is located in language use /? Chantal Crozet 4. Chinese /? Li Kaining 5. How can we make Australian English meaningful to ESL learners? /? Anne-Marie Barraja-Rohan 6. Teaching French and culture in language use /? Chantal Crozet and Louise Maurer 7. Are Germans rude or just doing things differently? Understanding and teaching language and culture /? Winfried Thielmann 8. Face value: teaching Italian verbal and social-cultural interaction /? Piera Carroli, Adriana Pavone, Vincenza Tudini 9. The teaching of culture in Japanese /? Miyuki Toyoda and Shunichi Ishihara.diagrams, word listsculture theory, australian english, esl, language and culture, english as a second language

Bendigo Operatic Society Programme: ''Viktoria and Her Hussar'' Capital Theatre Bendigo. Opening Friday, 14th April 1961, for Five Nights. Price 1/6. Bendigo Operatic Society Presents by permission of J.C. Williamson Theatres Ltd. ''Viktoria and Her Hussar'' A Norman Lee Production, Music by Paul Abraham, Book and Lyrics by Harry Graham. Cast in Order of Appearance: Leonard Carr as Stephan Koltay (A Hungarian Cavalry Officer) - Ferd Lorenz as Janzci (His Servant) - Reginald Boromeo as A Russian Sergeant - Peter Houston as A Cossack Sentry - Gerald Hayward as Tokeramo Yagani (A Japanese Secretary) - Carol McKenzie as Viktoria - Brian Thomas as John Carling (American Ambassador at the Court of Japan) - Frederick Trewarne as Miki (A Japanese Servant) - Annette Wilson as Riquette (Viktoria's Maid) - Bryan Brewer as Count Ferry Hegedu - Greta Smyth as Suzuki (A Japanese Maid) - Patricia McCracken as O Lia San - Peter Haines as Webster (Butler to the American Ambassador) - Patricia Lyon as O Muki San - Alfred Annison as Bela Porkelty. Musical Director: Max O'Loghlen. Ballet Mistress: Madge Welch. Society Pianist: Mrs. P. House. Synopsis of Story: Viktoria believing her lover Stephan to have been killed in action against the Russians, has married John Carling. Stephan wasn't dead but taken prisoner of war. With the help of Janzci escapes and take refuge in the american embassy. Here he meets Viktoria who remembering the vows she made before the war is torn between her love for him and her loyalty to her husband.program, theatre, bendigo operatic society

1) The Advertiser - Red Alert - February 06, 2009 2) The Advertiser - Headline Moments of the Past-July 03, 2009 3) Herald Sun - Black Saturday - February 07, 2009 4) Herald Sun - Fire-storm - February 08, 2009 5) Herald Sun - 84 Dead - February 09, 2009 6) Herald Sun - We'll Help - February 09, 2009 7) The Advertiser - Hellfire Heartache - February 09, 2009 8) The Advertiser - Thumbs Up On Water - February 09, 2009 9) Herald Sun - We Will Rebuild - February 10, 2009 10) Herald Sun - All Lost - February 10, 2009 11) The Advertiser - How We Lost Our Brother - February 10, 2009 12) The Advertiser - Counting the Cost - February 10, 2009 13) Herald Sun - Alive - February 11, 2009 14) Herald Sun - Act of Terror - February 11, 2009 15) Herald Sun - Never Again - February 12, 2009 16) Herald Sun - The Tiniest Victims - February 12, 2009 17) Herald Sun - Heart of a Nation - February 13, 2009 18) Bendigo Weekly - City Unites - February 13, 2009 19) Herald Sun - Love from the Ashes - February 14, 2009 20) The Advertiser - Black Saturday - February 14, 2009 21) The Advertiser - Black Saturday - February 14, 2009 22) Herald Sun - Portraits of Grief - February 14, 2009 23) Herald Sun - Salute Our Heroes - February 15, 2009 24) The Advertiser - One Brick at the Time - February 16, 2009. Folder 111 now in Box 417 AV 03/11/2022newspaper, bendigo advertiser

The Ruyton Reporter (formerly known as Ruyton Reports) captures the essential Ruyton Girls' School experience for the broader school community. It has been produced since 1986.The record has strong historic significance as it pertains to one of the oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Thus, the record can be used as a reference example for research into Victorian school history. It also gives insight into the types of activities and events undertaken at Ruyton Girls' School during the period of its production. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Black and white newsletter printed on paper with staple binding. 16 pages.Front Page: R / RECTE ET FIDE LITER / RUYTON REPORTS / Ruyton Girls' School / 12 Selbourne Road, Kew 3101 / Telephone: (03) 819 2422 / Facsimile: (03) 818 4790 / November 1991 / Vol. 6 No. 2 / 'Walkathon': A Triumph! / Final Total: $35,000.00 / The extraordinary success of this event in which every girl from Prep to Year 12 participated / must be attributed to School Co-Captains, Amelia Jones and Kadri Kutt. Loyally supported / by the Sports Co-Captains, Juanita McLaren and Penny Mudge, their leadership ensured / that Mr. Stan Guilfoyle would generously provide maximum support for their efforts. Our / grateful thanks go to all parents and other sponsors who helped our girls achieve this / outstanding result. / School Co-Captains Kadri Kutt and / Amelia Jones with Simone de Kever / and Catherine Littlejohn / Mrs Gillies, Kadri, Amelia and others set off on the Walkathon. (For an update for the / Physical Education Centre see page 10) /ruyton girls' school, ruyton, school, students, newsletter, ruyton reports, ruyton news, kew, victoria, melbourne, girls school

The photograph taken on Sunday September 6, 1891, shows the Port Campbell Rocket Rescue Crew and Equipment at Wreck Beach, Moonlight Head, preparing to save the stranded men on the wreck of the barque Fiji. The man standing in the middle, front of the photograph, facing the ocean, is Herbert Maxwell Morris, a farmer at Barruppa near Princetown, also a member of the Rocket Rescue Crew. The Rocket Rescue lifesaving method used an explosive rocket to shoot a light line from shore across to the distressed vessel. The line was then secured to the ship’s mast and a heavy, continuous line was then sent out with a ‘breaches buoy’ attached (a buoy similar to the seat of a pair of trousers). The stranded seafarers would sit in the seat and be pulled along the line to safety. A lot of skill was needed to set up the line to reach its target and the Crew trained regularly to keep up their skills. The three-masted iron barque Fiji was built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on May 22, 1891, bound for Melbourne under the command of Captain William Vickers with a crew of 25. The Cape Otway light was sighted on September 5, 1891. However, the bearing was different from Captain Vickers’ calculations. At about 2:30am the next morning land was reported only 4-5 miles away. The captain tried to redirect the ship in the rough weather without success and the Fiji struck rock only 300 yards (274 metres) from shore. The crew burned blue lights fired rockets to signal distress. The lifeboats either capsized or were swamped and smashed to pieces. Two younger crewmen volunteered to swim for the shore with a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, Julius Gebauhr, a 17 year old German able seaman, reached shore safely on his second attempt but had cut the line lose with his sheath-knife when it tangled in kelp. He climbed the steep cliffs in search of help. Later that morning a young man, William (Willie) Ward, saw the wreck of the ship close to shore near Moonlight Head from the cliffs and the alarm sent for help from Princetown, six miles away. At around the same time a Mott’s party of land selectors, including F. J. Stansmore, Leslie Dickson, was travelling on horseback from Princetown towards Moonlight Head. They were near Ryans Den when they found Gebauhr in the scrub, bleeding and dressed only in singlet, socks and a belt with his sheath-knife. They thought the man may be an escaped lunatic, due to his wild and shaggy looking state and what seemed to be gibberish speech. After Gebauhr threw his knife away they realised that he was speaking half-English, half-German as he talked about the wreck. They gave him food, brandy and clothing, and he was taken to a nearby guest house Rivernook, owned by John Evans, where he was cared for. Most of the party went off to the wreck site. Stanmore and Dickson rode for help from both Port Campbell for the two Rocket Rescue Crew buggies, and Warrnambool for the lifeboat. The vessel S.S. Casino sailed from Portland towards the scene. Half of the Port Campbell Rocket Crew and equipment arrived after a 25 mile journey and set up the rocket tripod on the beach below the cliffs. By this time the weary crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. The Office in Charge of the Rocket Crew, W. Tregear, ordered the rocket to be fired but the light line broke and the rocket was carried away. A second line, successfully set up by Herbert Morris, crossed the ship and was secured. The anxious sailors tried to come ashore along the line but some were washed off as the line sagged with too many on it at one time. Other nearly exhausted crewmen made their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Rocket Crew members and onlookers on the beach took it in turns to go into the surf and drag the half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Herbert Morris, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody, who was also involved in the rescue of men from the Newfield. Arthur Wilkinson, a 29 year old land selector, swam out to help one of the ship’s crewmen, a carpenter named John Plunken who was trying to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck where they were both hauled back on board. Wilkinson was unconscious, possibly from hitting his head on the anchor before they were brought up. Plunken survived but Wilkinson later died and his body was washed up the next day. The 26 year old Bill Robe hauled out the last man; it was the captain and he’d been tangled in the kelp. Only 20 minutes later the wreck of the Fiji was smashed apart and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach. Their coffins were made from timbers from the wrecked Fiji and they were buried on the cliff top above the wreck. The survivors were taken to Rivernook and cared for over the next few days. Funds were raised by locals soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. There was public criticism of the rescue. The important canvas ‘breeches buoy’ and heavy line for the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue as they had been delayed at the Gellibrand River ferry. The communications to Warrnambool were down so the call for help didn’t get through on time. The boat that had been notified of the wreck failed to reach it in time. Much cargo looting occurred. One looter was caught with a small load of red and white rubber balls. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. Years later Bill used the pocket watch to pay a debt, and it was handed down through that family. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the cliffs overlooking Wreck Beach pays tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Captain Vickers’ pocket watch and Julius Gebauhr’s sheath knife are amongst the artefacts salvaged from the Fiji that are now part of the Fiji collection at Flagstaff Hill Maritime Village. The man identified in the photograph, Herbert Maxwell Morris, was the nephew of the Victorian era artist, William Morris. Herbert had sailed from England to Australia and was about 25 years old when he joined the Rocket Rescue Crew at Port Campbell. His successful rocket line firing at the Fiji wreck site was noted by author Jack Loney in one of his historic shipwreck books. Later Morris moved from his property at Baruppa to Laver’s Hill to run a more profitable enterprise. This photograph is significant as an image of a historical event, being the willingness of local volunteers to aid in the saving of lives of stranded seafarers. It gives a clear picture of the use of Rocket Rescue Equipment in shore-to-ship rescues. Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes. The Fiji collection meets the following criteria for assessment; Importance to the course, or pattern, of Victoria’s cultural history, possession of uncommon, rare or endangered aspects of Victoria’s cultural history, and potential to yield information that will contribute to an understanding of Victoria’s cultural history. Black and white photograph. Subject is the Rocket Rescue Crew from Pt Campbell on Wreck Beach, Moonlight Head, at the wreck site of the barque 'Fiji'. September 6, 1891.warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, pocket watch, fob watch fiji, william vickers, william robe, bill robe, gebauhr, stansmore, carmody, wreck bay, moonlight head, fiji shipwreck 1891, rocket crew, port campbell rocket crew, lifesaving crew, photograph of rocket crew, herbert morris, warrnambool, shipwreck artefact, mott, william ward, rocket rescue, breeches buoy, rivernook guest house

The Eastern Whipbird isusually be found in pairs. They have a distinct white stripe on either side of the beak which helps to identify this bird. This species generally resides in wet habitats such as wetlands and rainforests, where there is dense vegetation. The Eastern Whipbird can be commonly found along the east coast of Australia. Since this is a taxidermy mount, there are a few inconsistencies. The main inconsistency is the colour of the specimen, the plumage should be an olive-green colour. This particular colouring has likely faded due to the taxidermy process and also the age of the specimen. There should also be black plume on top of the head which is missing from this specimen. 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 Eastern Whipbird is a small species of bird which has a dramatic stripe of white colouring on either side of the small bill and the crest is black. The belly and throat are black while the back, wings and tail are dark brown. This specimen stands upon a wooden perch and has an identification tag tied around its leg.25a / Thickhead / catalogue page 11taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, eastern whipbird, australian birds

The memorial tablet was unveiled in the St Nicholas chapel at the Port Melbourne mission (Beach Cnr Nott St) on Wednesday 24 June 1936. The ceremony was performed by her nephew, Reverend John Smerger Drought - her sister's son. Another plaque was erected the same month in the Williamstown Institute. (Annual Report 1936) Along with the windows in the St Peter chapel in the Central Institute, those were the 3 memorials similar to the ones erected in memory of Miss Tracy. Miss Ethel Godfrey was born in 1861 at sea on the vessel called Copenhagen. Daughter of a pioneer, and settler Frederick Race Godfrey MLA and subsequently Lay Dean at St Paul's. Ethel Studied in Melbourne and abroad at Brussels and became a singing teacher and performer. In 1906 she took on the role of Honorary General Secretary to create and lead the volunteer organisation "The Ladies Harbour Lights Guild" and subsequently helped establish similar groups in Newcastle, Brisbane, Sydney, Hobart, Adelaide and also established the mission in Southampton in the UK. The structure of the LHLG was used as a model framework by similar groups supporting Missions around Australia and the Globe. A key achievement was the fundraising campaign for the memorial chapel in St Peters built in 1917 by Walter R.Butler. She died the 7 July 1935, and is buried in the St Kilda Cemetery.On her retirement in 1930 after some 25 years, Miss Godfrey together with Chaplain Gurney Goldsmith was recognised in the journal The Church and the Sailor, as a key influence and promoter of the formation of Harbour Lights groups across the suburbs of Melbourne, Victoria and Australia, the Ladies Harbour Lights Guild, Melbourne being the first such auxiliary group in the world.Clay base rectangular plaque with inlaid blue ceramic regular tesserae surrounding the ceramic centre rectangular ceramic panel with inscription and decorative glazed detail tiles. Support is a metal frame with inset wood pieces .To the Glory of God and in memory ops/ a much loved leaderAthel Augusta Godfrey, / one of the founders/ of the ladies Harbour Lights Guild/ of which she was honorary general secretary / Until 1930./ This memorial erected in the year of her death."memorial plaque, plaque, lhlg, port melbourne, chapel, brooks robinson and co, reverend john smerger drought, sectile tablet, opus sectile mosaic, mosaic, ethel augusta godfrey 1861-1935

On Boxing Day 1905, Mr Dudley Le Souef, the director of Melbourne Zoological Gardens, offered the grounds for a picnic. The seamen of the fifteen ships anchored in the harbour were invited. In the centre wearing a white cap is Mr Charles A. Holmes, Honorary Lay Reader of the Mission and behind him is Ethel Godfrey. The following day in the Age we could read: "Yesterday the scene of festivities was the Zoological Gardens, where a number of seamen from fifteen of the ships in the harbor had a sailors' picnic. The director of the gardens, Mr. Dudley Le Souef, kindly, allowed the picnickers the free use of the picnic ground, and also provided them with milk and hot water. A lengthy programme of sports was gone through, and those who were not inclined for athletics spent their time in strolling round examining the zoo logical inmates of the gardens. It was noticeable that the large carnivora were the favorites with the English sailors, whilst foreign seamen were immensely attracted by the kangaroos, wallabies and other Australian marsupials. After tea Mr. Le Souef delivered an interesting illustrated lecture entitled Sea Birds and Their Homes. In carrying out the two days' arrangements Mr. Goldsmith was energetically assisted by voluntary helpers, both ladies and gentlemen, and also received many contributions. " The Age, Wednesday 27 December 1905, page 5.Small monochrome outdoor photograph, very clearly focussed, depicting three men delivering or collecting teacups, and two ladies watching on in backgroundMr Holmes distributing cups Zoo Miss Godfrey Centrezoo, boxing day, mr dudley le souef, ethel augusta godfrey, mr c.a. holmes, picnic, 1905, charles arthur holmes

In February 1913 the Ballarat Junior Technical School opened its doors to its 86 pupils. The old bluestone building in the grounds of the Dana Street Primary School became their temporary home for eight years. In its early years the school offered only a two-year course. The first year was of a general nature giving a thorough grounding in Mathematics and Instrumental Drawing, and introducing students to the various branches of trade work. The second-year students studied for the Junior Technical Certificate and specialized in a course of their choice - either a trade (Woodwork or Fitting and Turning) or a course leading to higher studies at the School of Mines. Increased enrolments - 86 to 110 in the second year. Some applicants were turned away due to lack of space. An abandoned single room school was brought in and this helped for a time. Plans were developed and a two-storied red brick building in the vacinity of the School of Mines was build. An acre of land was reclaimed from the north-east corner of the Ballarat Gaol. The school backed onto the wall of the gaol. The task of landscaping and terracing of the area was to cost a great deal and time. The boys did much of the heavy work. This kept them occupied as the official playground areas were still full of rubble. This photograph shows the work that has been done in terracing and landscaping the area.Junior Technical School with the slope from the gaol wall down to the area known as the Battery Paddock. New plantings and rock edging evident in the foreground.junior technical school, dana street primary school, bluestone, mathematics, instrumental drawing, junior technical certificate, woodwork, fitting and turning, school of mines, ballarat gaol, landscaping, terracing, gaol wall

Henry Box ,who was born in Withyham, Sussex in 1839 , was the 3rd son of George and Mary Cripps Box and came to Australia in 1856 with the family. Henry paid his own fare so was not ‘bound’ to any employer. Henry helped his brother William establish his market garden on the site of Box Cottage, Jasper Road 1865 and by 1970 was purchasing property in East Brighton (Bentleigh.). He continued to purchase land, which he rent / leased to family members, and at his death in 1913 owned property in East Boundary Road, Murrumbeena and Elsternwick. Henry married Elizabeth ‘Emma’ Ward in 1868 and they had 9 children but 2 died in infancy. ‘ Emma’ was the daughter of William Ward 1820- 1908 who was born in Norfolk and emigrated with his wife Ann Ostler in 1853. Henry was a member of the Court Pride of St George AOF, and a lay preacher at the Bentleigh Baptist Church.. Surviving Children were - Caroline Alma Box 1863-1943, Mary Anne Box 1865- ?, Lydia Elizabeth Box 1867- 1957, William Henry Box 1869- 1945, Emma Elizabeth Ellen Box 1875 – 1964, Olivia Christina ‘Chrissie’ Box 1878 – 1963, Archibald Ward Box 1882 -? Box Cottage Museum, a reconstruction of an early settler hut, is named after the Box family who resided there 1865 -1913 . William Box who with his wife Elizabeth Avis Box and 13 children lived and farmed on the block of land in Jasper Road, East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841 . Henry Box, a brother of William Box, was born in Withyham, Sussex and came to Australia with his parents George and Mary Box and siblings in 1856. He purchased property and helped the family establish market gardens in East Brighton (Bentleigh). Henry and his wife Elizabeth Emma Ward Box had 9 children, Henry was a lay preacher for the Baptist Church Bentleigh. Inscribed in Album “ The early photos in this album were found by Mr (Laurie) Lewis when he was demolishing the Old Box Cottage. He gave them to Mrs Avis Box Eldridge who in turn gave them to me. They were not identified. I believe they rightly belong in the Cottage. I have attempted to identify them and present them in a way they can be preserved as a historical record of the era.” A B Leigh A black and white photograph of a boy who could be a son of Henry Box 1839 -1913BENSEN & STEVENSON PHOTOS / 108 Elizabeth Street Melbourne/ COPIES CAN BE OBTAINED AT ANY TIME

Pyott's Ltd., was an merchant and novelty shop in Vancouver, Canada during the early-20th century. An advertisement for the shop was published on February 9, 1922 in the Ubyssey News (issued Weekly by the Publications Board of the University of British Columbia. It reads: 'We carry one of the largest lines of Indian Burnt Leather Goods, Moccasins and Baskets in the city; also Beads, Purses and Hand Bags; View Books, Post Cards and Novelties of all kinds. Your inspection invited, 524 Granville St. Vancouver B.C'. History of shopping bags: Before the late 1800s, shopping bags didn’t exist. Shoppers would either carry their goods home in baskets, or have the merchant deliver them to people's homes, until 1852 when Francis Wolle, a schoolteacher in Pennsylvania, invented a machine to produce paper shopping bags. This invention would allow customers to carry items home in disposable paper bags. Soon after, owners of department stores and retailers began to realise that paper shopping bags could be used to help market their brands, and as such custom shopping bags with printed logos became common place. Carrying a shopping bag from certain shops became a type of status symbol for consumers, providing evidence that one was well-off, had good taste, or both. The paper shopping bag is a rare survival of ephemera related to a retail store that existed in Vancouver, Canada during the early-20th century. The arrival of waves of more than ten million migrants by boat is one of the major themes in Australia’s history. The paper shopping bag is representative of personal items purchased for migrant journeys as markers of domesticity, warmth and making oneself at home in a new land that speaks of the transnational lives embedded in threads of migration. A brown paper shopping bag with a printed logo and store information in black inkPyott's, Indian Souvenirs & Novelies. 524 Granville St, Vancouver- B.C. On the reverse side in handwriting: 'Red + dark red beadsshopping bag, marketing, ephemera, pyott's, vancouver, canada, migration, flagstaff hill, merchant

The paper shopping bag was most likely used for carrying garments, silk or woollen fabrics home from the Wallace Hughes department store. This substantial drapery operated from the late 19th-century-to the mid-20th century, and had 30 departments and stood at 464 - 470 Brixton Road, south London, U.K. The building was destroyed during the second World War and rebuilt in the 1950s. Brixton was once home to several large department stores, none survive today. History of shopping bags: Before the late 1800s, shopping bags didn’t exist. Shoppers would either carry their goods home in baskets, or have the merchant deliver them to people's homes, until 1852 when Francis Wolle, a schoolteacher in Pennsylvania, invented a machine to produce paper shopping bags. This invention would allow customers to carry items home in disposable paper bags. Soon after, owners of department stores and retailers began to realise that paper shopping bags could be used to help market their brands, and as such custom shopping bags with printed logos became common place. Carrying a shopping bag from certain shops became a type of status symbol for consumers, providing evidence that one was well-off, had good taste, or both.The paper shopping bag is a rare survival of ephemera related to a department store owned by Wallace Hughes in Brixton, South London, Britain that operated during the early-20th century, The arrival of waves of more than ten million migrants by boat is one of the major themes in Australia’s history. The paper shopping bag is representative of personal items purchased for migrant journeys as markers of domesticity, warmth and making oneself at home in a new land that speaks of the transnational lives embedded in threads of migration.The green coloured paper shopping bag with a printed logo and store information in red ink.Wallace Hughes, Brixton; For jumpers; For blouses; brixton's most fashionable draperwallace hughes, shopping bag, draper, migration, brixton, flagstaff hill

August Vogeler was born in Minden, Germany in 1819, and emigrated to the United States to Baltimore when 20 years old and entered the employ of the wholesale drug firm Smith & Atkinson. Five years later he established the firm of A. Vogeler & Company manufacturing drugs and chemicals and eventually built up a drug business and manufactured products such as St. Jacob’s Oil, Dr. August Koenig’s Hamburg Drops, Koenig’s Hamburg Breast Tea, Diamond Vera-Cura and Dr. Bull’s Family Medicines. Vogeler & Company was located for a long period of time at Liberty and German Streets in Baltimore City and had an impressive multi-block operation. Charles A. Vogeler, August’s son, grew the business and was one of the pioneers of progressive patent medicine advertising and employed many novel schemes. Another son, Jerome Vogeler was also engaged in the drug business. Previously, in 1873, August Vogeler acquired the medicinal compounds of Reverend Dr. Bull (not the Dr. Bull in Louisville). Eventually in 1877, with the help of his partner, Adolph Meyer, the company promoted and sold Dr. Bull’s Family Medicines until shortly after the death of Charles Vogeler in 1882. In 1883, A. C. Meyer purchased all interests of his Vogeler partners and remained in business until his death 0n 4 February 1914. Slender aqua tinted clear glass with three lines of text embossed on half side of bottle, initial on base.On side 'ST JAKOBS OEL', A VOGELER & CO', BALTIMORE MD'. On base 'C'.liniment

The “Northrop” is an American copy of the “Zogling” which was designed in Germany in the 1920s as a training glider. Apparently, the Northrop primary glider takes its name from a Marvin Northrop of Minneapolis who imported a Zogling from Germany and from that glider had plans drawn and published in a magazine called Modern Mechanics in 1930. The Australia Gliding Museum’s Northrop was built over the period of 1970 to 1974. The project was conceived by a pioneer of Australian gliding, Ken Davies, about 1969, as a hobby project and to experience afresh gliding flight of the early years. By that time, few primary gliders, which performed a fundamental role for gliding clubs in the 1930s and 1940s, remained in Australia. Ken began construction and was helped to finish the project by two old time Gliding Club of Victoria members, Dave Darbyshire and Rudi Feil. The glider was test flown on 8 March 1975 at Benalla. The glider was stored at the Gliding Club of Victoria and flown on special occasions in the 1980s. Later it was damaged at the 1996 vintage glider rally at Ararat as a result of a heavy landing. Storage was then provided for the glider by the Victorian Motorless Flight Group at Bacchus Marsh until it was returned to Dave Darbyshire for restoration in 1998. Fully restored, the glider was donated by Iris Davies and Dave Darbyshire to the Australian Gliding Museum in April 2001. This exhibit is the type of machine that formed the basis of the sport of gliding from 1929 to about 1945. The glider consists of an open (uncovered) wooden framed fuselage (painted blue) with a brown vinyl covered seat, fabric covered wooden framed wings of constant chord (painted silver) with provision for attachment of semi-circular cane wing skids, and fabric covered wooden framed tailplane, elevators and rudder (painted silver). When assembled the airframe is wire braced.australian gliding, glider, northrop, zogling, davies, darbyshire, feil, gliding club of victoria, victorian motorless flight group

Michael Leunig is an Australian cartoonist, poet and cultural commentator. His best known works include The Adventures of Vasco Pyjama and the Curly Flats series. Leunig was declared one of Australian Living Treasures by the National Trust of Australia in 1999. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.one colour (yellow) etching on Somerset paper. Thick lines weave in and out to produce a figure reminiscent of his 'curly flat' characters holding a long stem flower/vine. ekphrasis2018, pilgrim, baldessin, leunig

This antenna was used between 1989 and 1990 to help receive the daily news service in the Greek language directly from Athens, Greece. At the time, news from Greece for the Greek people in Australia were arriving in Melbourne a week late, on newspapers from Athens sent through air-mail. These newspapers were displayed at Salapatas and Carras newsagents at Lonsdale street in Melbourne. One thing that was a problem for this service was that the news came at least 7 days late. Using the Shortwave Antenna we could get the latest news from Athens on shortwave radio directly and within an hour these news were recorded on a cassette tape and taken to the Tricom Group P.L. offices in Melbourne (1155 Malvern Road, Malvern 3144). The tape was loaded onto a system which allowed people to call a local phone number and listen to the latest news with a cost of a local call, or a little bit more. As this was prior to the Internet being established around the globe, it was the fastest news service directly from Greece, in the Greek language. It was used for a span of about 12 months, until Tricom closed down their dial-in services, sometime in 1990. The service was captured and loaded onto the system by Iakovos Garivaldis, then an employee of the Tricom Group which was a subsidiary of Southern Cross TV.The Primary significance of this object is of its historical value, social and informative value for the first generation of Greeks in Victoria"World Tuner AT4 SW" antenna with a 920mm fully extended aerial, a tuned circuit and two transistors to prevent loading of the antenna and boost signal output. It is made of plastic, black in colour with the aerial being made of steel. The signals picked up by the antenna are fed via a 15pF ceramic capacitor to a tuned circuit consisting of either VC1a or VC1b and either L1, L2, L3 or L4. The slider switch S1 selects the band to be tuned. The band range is normally from 3 to 30MHz. When S1 is in position A, L1 and VC1a are selected and the antenna can be tuned from 3-9MHz. Similarly positions B, C, and D select higher frequencies up to 30MHz. It was purchased by Iakovos Garivaldis for this use for $119.WORLD TUNER AT4 SW "Amplituned" Shortwave Antennaantenna, radio, short-wave, language, greek

The Lifeboat Queenscliffe was built in Adelaide and commenced service at Queenscliff in 1926. She was taken out of service in 1976 by the Marine Board of Victoria and subsequently offered to the Borough of Queenscliffe for care and display. The Lifeboat is listed on the Australian Register of Historic Vessels (ARHV). To view the classification follow the link to the Queenscliffe page on the ARHV site. During her 50 years of service the Queenscliffe attended many calls for assistance both inside and outside the Heads. Some of the vessels and calls for help the lifeboat attended were: 1960 - Army Commandos lost in the Rip 1967 - The search for the late Prime Minister Harold Holt 1974 - The last attendance to a vessel was to the Brisbane Trader which was on fire The shed which housed the lifeboat is located on the Queenscliff 'New' or 'Steamer' Pier (built in 1884). This shed includes the internal section of the slipway used to launch and retrieve the lifeboat. The external slipway and some other structures associated with the lifeboat shed have been removed. Originally fitted with two masts, the stern mast being removed in the 1960's. A retractable centre plate was used when under sail. Delivered with an 80 hp Wayburn petrol motor which was later replaced by a 72 hp Gardiner diesel. Top speed of 7.5 knots and a range of 350 miles.Photograph of lifeboat Queenscliff at sea under sailQueenscliffelifeboat, a. macfarlane & sons

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Women's left brown peep toed, cut out, heeled shoe, manufactured by Hush Puppies. Only the left shoe.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Women's left black leather heeled shoe, manufactured by Hush Puppies. Simple and unadorned in style with a rounded toe. Only the left shoe.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Men's tan coloured shoes with appliqued leather design attached to the laces creating a wave-like point on the sides of the shoes.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Men's black leather brogue shoe. Leather detail stretches around the bottom of the shoe and the toe as well as around the opening of the shoe and the laces.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.The bag is small, tanned leather with a panel on the front of the bag made from delicate, tanned barramundi skin. The handle is attached to the bag using a gold loop in the centre, top of the bag and one long adjustable strap, The main clasp of the bag features an image of the Australian emblem above the Olympic rings, the reverse of the bag is unadorned.Clasp on the front of the bag has the image of the Australian emblem over the Olympic rings. On the inside of the bag is a label- "Witney Green" "Made in Australia"1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Men's brown leather shoe with a different coloured leather around the upper part of the shoe and laces. Only the right shoe.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.A pair of cream coloured crew length socks in their packaging.On label - " Holeproof COTTON RICH 80% Cotton 20% Nylon covered Lycra" Care instructions on reverse.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Thousands of volunteers work tirelessly to conserve and protect the environment of Geelong and the Bellarine. Their work often goes unnoticed. In 'The Work of Nature' the National Wool Museum and the Environment Department at the City of Greater Geelong worked with photographer Nicole Marie to showcase the significant contribution of environment volunteers in our region. Each of the eight people showcased in these portraits were nominated by their peers and members of the community for their significant contribution to conserving and protecting the environment. Julie Riley and Jennie Turner - Friends of the Hooded Plover Breamlea The hooded plover is one of Australia’s most threatened birds. Although they spend their whole life on the beach, they have one of the lowest breeding success rates of all birds. Although severely threatened, in the last decade their numbers have slowly stabilised as volunteer groups and conservationists have stepped in to protect their breeding grounds. Julie and Jennie run the hooded plover volunteer program in Breamlea. To those who work with them they are, “a powerhouse of strength, resilience and determination to help these birds survive”. They put in hundreds of hours of works over a season for it to often eventuate to nothing. If a person crushes a nest or a chick is lost the day before it’s due to fledge, all their efforts are gone. But after each failure they continue to show up and slowly things are changing. Photo at Breamlea by Nicole Marie.Image showing an environmental portrait of a two women standing with sand dunes in the background.environment, conservation, portraits, geelong, nature, exhibition, work of nature, geelong nature forum, volunteers

Articles in annual report include: List of office bearers of the institute and officers of the institute, Confidence mobility, Annual report of the RVIB babies, Children and adults - 97 years of service and programmes - special appeal, Residence rehabilitation training centre, Conference mobility, Ten pin bowling, Deaf blind centre, Resident nursery and school, Worldwide literary competition, Higher education, Employment, Welfare, Recreation, Finance, Appreciation, Auxiliary, 3KZ Christmas appeal, Vice regal patronage, My friend the long cane - a new method of self-help for blind people, They're the workers, 36th annual report of the council of auxiliary. Events that occurred in 1962 : Hon. H.E. Bolte, Premier opened the appeal and announced a special grant of $20,000 pounds from the state government. Lieutenant General Sir Henry Wells accepted the board's invitation to become chairman of the appeal, at the Burwood school Cheng Ann Cheok a 15 year old Singaporean boy arrived to further his education and study music, he hopes to adopt music as his career. Through the kind offices of Dr Edward J. Waterhouse director of Perkins school for the blind of Boston and the generosity of its Board of Trustees a scholarship will be provided to the Institute for an Australian teacher to be trained as a specialist teacher within their school.1 volume of text and illustrationsroyal victorian institute for the blind, annual reports