Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt

This book, marked ‘W. College, 1890’, has been in the collection of the Warrnambool and District Historical Society for a great number of years. It is presumed that the ‘W’ stands for Warrnambool and that the book belonged to a pupil or teacher from the Warrnambool College run by James Scott. This school commenced in 1887 in ‘Airlie’ in Henna Street and was at ‘Ashton’ (now part of Emmanuel College) from 1889 to 1899. The owner of the book, ‘N.’ (or W). H.’, has not been identified but it looks like a teacher’s handbook, rather than that of a pupil. This book is important, firstly for its antiquarian interest and as an example of a 19th century school text book and secondly for its association with James Scott’s Warrnambool College, a prominent private school in Warrnambool in the 19th century. This is a hard cover book of 328 pages, with some pages at the back listing other books published by Ward and Lock. The cover is dark red with gold and black lettering on the front cover and on the spine. The book has a Preface and an Introduction and there are several ornamental scrolls at the beginning and end of the text sections. The inscription is handwritten in pencil.‘N (or W) H.’ ‘W. College, 1890’ warrnambool college (19th century), james scott, history of warrnambool

Co-operative housing societies were loan societies established in the mid to late 20th century. They were based on the structure of a group of borrowers approximately 40, who lived within a radius of thirty miles joining a co-operative. They had the right to select their own site, plans and amount that they would like to spend. The co-operatives were administered by accounting firms. There were conditions placed on the borrowers in regard to amounts able to be borrowed and size of dwelling and percentage of cost which could be borrowed.The era of post-World War Two saw a shortage in a number of areas one of which was housing. The co-operative Housing scheme was preferred by many as it avoided the block approach which had been used by the Housing commission. The co-operative housing scheme proved to be of benefit to many families around that time.Framed certificate with black text Stylised frame around text. Paper is cream.H.E Daw Gov Print., Melb. Victorian Government seal in bottom Right hand corner. Registrar of Co-operative housing societies, Victoria. warrnambool, co-operative housing society 1951

Item in the collection relating to C.J.C. McQuie MM, refer Cat No 9680P for his service details. Australian Army Reserve 1919 issued by Defence Department Melbourne. The centre double page outlines items like, eligibility to join - where - ranks - training units - uniforms - pay - discharge - command office, change of address - correspondence. The rear page details the pay scale per day from Lieut - 2nd Lieut 15/- down to private at 4/- per day. (/-) means Shillings.Pamphlet folded brownish colour, all print in black, stamp on the front in purple.The purple stamp, “Call or write to Lieut T.R. ……air Organising Officer - S.O.I and R.S . Office Victoria Barracks - Melbourne.reserve, mcquie, pamphlet

Theodolites have been used to measure horizontal and vertical angles by surveyors since the 1500s. A theodolite is a precision instrument for measuring angles in the horizontal and vertical planes. Theodolites are used mainly for surveying applications, and have been adapted for specialized purposes in fields like meteorology and rocket launch technology. Theodolites, such as this one, were instrumental to early surveyors, and would have played a significant part in their everyday work. The plumb bob was used to set the instrument exactly over a fixed survey marker.This theodolite was made by Troughton and Simms, who were significant scientific instrument makers of the 19th century and early 20th century. In 1782 John Troughton purchased Benjamin Cole's shop in Fleet Street, London enabling him to sell his own signed products. His instrument making business supported several dynasties of Troughtons before becoming Troughton and Simms and later still Cooke Troughton & Simms. This firm was one of the most well respected firms of instrument makers of the 1800s. A grey metal theodolite - probably made of brass. It has movable parts and there is a weight ( a plumb bob) attached with string.Cooke Troughton & Simms Yorke England V012318 Supplied by A. E. Parsons Melbournetheodolite scientific-instruments surveying

These were worn by Mr Whiteman, Marjorie Burton's father, when he sang in the church choir. Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. She came from a middle-class, working, church-going family. The invention of the dickey was to make the front of a full dress shirt a separate entity in itself, like the detachable collar, so it could be laundered and starched more easily than a traditional shirt with the front attached.Cloth dickeys simulated many different styles and were often often used in marching band or choir uniforms. However they are rarely worn now. These items are examples of a menswear accessory commonly used in the first half of the 20th century. Two silk white dickeys, men' shirt fronts. 2483.29 has tapes with press studs ant the top and bottom and 2 button holes. 2483.30 has 3 button holes and is a double thickness. Both have pleats.men's-clothing accessories shirt-fronts-dickeys burton-marjorie

This chair would have originally had a different seat. The grooves and regular perforations seen underneath suggest that it was originally woven with chair cane. Chair caning is a method of weaving cane to build a comfortable seat. Donated by the Harry Cameron family, Harry's father, James Cameron, came to Bellagoogan on Majors Creek in 1882. Bellagoogan was on Majors Creek near Orbost and was the site of the first race course. Like many others at the time, the Camerons bred race horses.Harry died in 1964 aged 75.This item used by the Cameron Family has aesthetic significance. Luterma chairs are well known in Northern Europe. However they are becoming rarer. The Cameron family was a significant part of early Orbost.Little High Bentwood chair with perforated seat, metal screws and bolts, unreadable label underneath.Under seat - Luterma Fabrique en estonie. Made in Estonia. Inside seat rim J + ? Kehn rubber stampdomestic chair furniture cameron-harry

A set of collars, possibly worn during the 1920s-1950s period, wearer unknown. A detachable collar is a shirt collar separate from the shirt, fastened to it by studs. The collar is usually made of a different fabric from the shirt, in which case it is almost always white, and, being unattached to the shirt, can be specially starched to a hard cardboard-like consistency. The popularity of detachable collars and starched collars in general began to fade in the 1920s and 30s as men’s clothes became more comfortable.These items are examples of men's clothing from the first decades of the 20th century when men wore more formal daily attire. A set of four white men's collars of assorted sizes, made from stiffened fabric.Cremorne Collar Company, Melbournemen-collars male-apparel

Report submitted to Eltham Shire Council April 1987 by Dr. R. Bruce IV School of Environmental Planning, The University of Melbourne. "The aim of this report is to identify major factors which impact on neighbourhood amenity and hence contribute to residents' satisfactions with their living conditions" - Page 2 Contents include: Summary, Introduction, In the Residents' Own Words, Psychological constructs of neighbourhood amenity, physical characterisitics of impacting neighbourhood amenity, most and least liked places in Eltham, glossary, literature cited, data.Bound paper copy book. Printing on one side of page. 30 pagesplanning,neighbourhood,1987

The website: austinmemories.com provides a list of extracts from the Austin Motor company archive and makes mention that in WW2 some 3,500 lifeboats were provided for ships. In the link above there is also reference to airborne lifeboats. It seems that the Austin 8HP so-called lifeboat motor was very often re-used by boating enthusiasts which would account for the publication or e-issue? of this manual in 1986. It seems likely that this temperamental engine was still of interest to people like ship's engineers.Mariner Duncan had a particular regard for the Mission to Seafarers. This plate for display on a commissioned new table at the MTSV chapel acknowledges his bequest and the material donated. Collectively the G W Duncan material includes: photographs, professional data memorabilia and written and commercially printed resources. The memorabilia relates to his career at sea and in particular the role of an engineer, including a handwritten manual of notes and references relating to the mechanical and engineering aspects and areas of responsibility for maintenance. Commercially printed well handled small handbook or manual with rounded corners; for an Austin 8 HP engine for a lifeboat.see image for front cover mariner manuals, lifeboats, manual, motors, austin, george winfield duncan (1922-2017), ship engineer, s.s. athenic

Braybrook's history includes early white settlement in the 1840s, the establishment of the Braybrook Shire in 1871 and a period of industrial development in the late 1800s with activities like bluestone quarrying. In the 1950s the Housing Commission of Victoria developed Braybrook as a social housing hub for the post war population boom. The suburb has since seen a mix of community development, including the establishment of the Vietnamese Buddhist community's Quanh Minh Temple. The original Braybrook Shire became part of the City of Sunshine and then the City of Brimbank.Meeting At Sunshine & District Hist Society 5/4/2001 Mrs Pam Chapman Memories of History of Braybrookshire of braybrook, pam chapman

The exact creation of this Cigar Cutter is unknown, however the vintage nature and style of this cutter indicate that it was made in the early to mid 20th century. This cutter closely resembles the V-cut style of cigar cutter. These cutters are the most common type of cigar cutters and have been historically widely used. They cut a 'wedge' into the cigar cap rather than removing the whole cap like guillotine cutters do. This type of cut allows the smoker to get a deep cut into the V shaped cigar. Social history objects held in the Burke Museum help to tell the stories of Beechworth's past by showing the town's social, artistic and cultural community. This cutter shows significance through it's vintage artistic style and it's ability to show the social habits within Beechworth's history. A small bronze metallic cigar cutter with cigar insert on one side of the object and handle on the other side. A01152beechworth museum, cigar cutter, bronze, burke museum, social history

This item was given to Captain John E D White, of the AATTV, by the Chief of the Rhade/Rade tribe, whose wife had woven it. The chief was John's recruitment officer in 1968. During the Vietnam War, the Rhade would be "recruited" from their villages to work with various units such as the MIKE force led by Captain White. As well as fighting-power, they were valuable for their understanding of the local environment. Like all Montagnards serving in the war, translation was also a vitally important skill they provided.Long piece of coarsely woven fabric with patterned braid and fringing at each end. Fabric is striped vertically with broad black sections and fine lines of yellow, white, and red.montagnard, white, rhade tribe, vietnam, john white, jed white, lap lap, laplap, loin cloth, rade

Robin Boyd developed a close friendship with the founder of the Bauhaus in Weimar Germany, Walter Gropius, who had moved to the USA in the 1930s. Through this connection, Boyd was invited to be the Massachusetts Institute of Technology (MIT) Bemis Professor at the School in the North American academic year 1956-7. During this time, the Boyds purchased this set of melamine kitchen canisters. They were used for flour, sugar, rice and biscuits etc. Both Robin and Patricia liked melamine, and also had melamine serving dishes. Seven melamine containers with coloured exteriors (ranging from white through yellowy-green, orange and black) with black interiors and teak lids. Height ranges from 100-200mm, width ranges from 110-170mm, Base measures 100-155mmcookware, walsh st kitchenware, robin boyd

Edgbaston is now an affluent suburb of Birmingham. The relation of the owner, James Griffin, to the donor (a resident of Kew) has not been identified. 'The Gentleman's Magazine' of 1845 contains a reference to the death of Mary, aged 12, at Brighton, the daughter of James Griffin of Edgbaston and of Withymoor Works, Dudley. (p.325). Coincidentally, James Griffin, a manufacturer of Withymoor Works was issued with a patent for his improvements in the manufacture of "spades, shovels, and such like tools" on 5 October 1843. Withymoor Works was owned by James Griffin & SonNineteenth Century leather document wallet that was brought to Australia by James Griffin's descendants.Brown leather wallet with inserted gussets to side and brass plate with lock to front and a fold over flap with brass fitting which clips shut and can be locked and leather double stitched casing to back for inserting a belt with key to lock inside. The owners name is engraved on the clasp."James Griffin / Edgbaston."cases, wallets, edgbaston, james griffin, withymoor works

Popular souvenirs during World War Two that were easy to fold and post home to Australia. Like the First World War Egyptian embroideries, they used cotton sateen in a range of bright colours (although sometimes velveteen was used instead) and bear the words 'Souvenir of Palestine', a year date, and sometimes a personal message, as well as images of specific mosques or landmarks, camels, goats and date palms. The Palestinian souvenirs were often seen displayed for sale outside houses in country villages.Colourful cotton sateen Souvenir of Palestine. Beige background with painted images, probably screen-printed, with machine embroidered outlines. Pink fringe. Objects depicted are two brown/yellow camels and one donkey with rider; two date palms with orange trunks and green leaves; the Union Jack and the Australian Flag; and the Australian Commonwealth Military Forces Rising Sun badge."Souvenir of Palestine" "Australian Commonwealth Military Forces"souvenir of palestine, rising sun badge, australian commonwealth military forces, embroidery, screen-printed, aif, ww1, world war 1, first world war

Two Legacy widows posing for a picture, their name badges say: Mary Steege and Grace De La_?. They are possibly Widow club committee members like other photos by this photographer with similar reference numbers. Other photos taken that day were used in an issue of The Answer. It is assumed that the date was 1991 due to the reference number from the photographic studio 911030B-6 could mean 30 October 1991, along with 00645, 00646, 00647, 00648, 00649, 00651 and 00661 - 00666. Photos of the committee members of different Widows clubs were taken by a professional photographer.Black and white photo of two Legacy widows and a proof sheet.Label on the back from Keesing Photographic with Reference No: 911030B-6. Pg 3 and "B" in pencil.widows, widows club, committee

Formally situated on the first floor of the Ballarat goal building. Currently situated at the Historic Precinct, Brooke Street, Smythesdale. In 2005 Mr Butler approached the Woady Yaloak Historical Society asking if we would like to become the new caretakers of the Gallows because of our historical connection. Four of the first five men executed on the gallows were from the Woady Yaloak area. Alexander Davies, James Jones, George Searle and Joseph Ballan were hung between 1864 and 1867 on these gallows.Wooden Gallows with metal parts and rope noose.alexander davies, james jones, george searle, joseph ballan, geoff butler, ballarat gaol, 1864 - 1965, capital punishment, death penalty, gallows

One of 5 B/W photographs showing areas within Caulfield Town Hall. Production date unknown, sometime after 1931 and before 1976. Original source unknown. Copyright for this image is unknown, although likely commissioned by Council. It has been digitised and published here for educational and research purposes. If you believe that you have copyright to this image and would like it removed from the site please contact us through the 'Leave a Comment' tab below.B/W photograph showing the main hall, Caulfield Town Hall, including the seating facing towards the stage set up with a table, chairs and a piano. The image shows the Caulfield Town Hall Auditorium prior to 1987 when it was reconstructed and divided to make a lower floor to accommodate a gallery and an auditorium on the floor above.Small Sticker, green and gold, adhered to r.h.s. verso corner 'The Speciality Press Pty. Ltd.'

One of 5 B/W photographs showing areas within Caulfield Town Hall. Production date unknown sometime after 1931 and before 1976. Original source unknown. Copyright for this image is unknown, although likely commissioned by Council. It has been digitised and published here for educational and research purposes. If you believe that you have copyright to this image and would like it removed from the site please contact us through the 'Leave a Comment' tab below.B/W photograph of Councillor's room off council chamber at Caulfield Town Hall. Image of two wooden tables set up in a T-shape configuration with chairs and a side board in the background. Two images hang on the wall in the background.Small Sticker, gold, adhered to r.h.s.verso corner 'The Speciality Press'.

One of 5 B/W photographs showing areas within Caulfield Town Hall. Production date unknown sometime after 1931 and before 1976. Original source unknown. Copyright for this image is unknown, although likely commissioned by Council. It has been digitised and published here for educational and research purposes. If you believe that you have copyright to this image and would like it removed from the site please contact us through the 'Leave a Comment' tab below.B/W photograph showing the upper foyer at the Glen Eira Town Hall. Image shows couches and armchairs and two central octagonal seats with central stands and small urns.Small Sticker, green and gold, adhered to r.h.s.verso corner 'The Speciality Press Pty. Ltd.'

One of 5 B/W photographs showing areas within Caulfield Town Hall. Production date unknown sometime after 1931 and before 1976. Original source unknown. Copyright for this image is unknown, although likely commissioned by Council. It has been digitised and published here for educational and research purposes. If you believe that you have copyright to this image and would like it removed from the site please contact us through the 'Leave a Comment' tab below.B/W photograph showing central octagonal booth, parquetry floors and Honour Boards in the original entrance foyer of the Caulfield Town Hall. The image shows the Caulfield Town Hall entrance foyer prior to 1987 when it was reconstructed to accommodate The Caulfield Arts Complex.Small Sticker, gold and orange, adhered to r.h.s.verso corner 'The Speciality Press'.

Daylesford Primary School, established as a State School in 1875 under Victoria's Education Act, is celebrating its 150th anniversary in 2025, marking a rich history connected to Daylesford's gold rush growth and community development, evolving from earlier private education and sharing links with the Daylesford College. The school occupies historic buildings on Vincent Street, fostering strong community ties through projects like Anzac commemorations, and the Daylesford Museum is hosting exhibitions featuring old photos and stories. Colour photograph of a brick building with tower, known as Dayleford Primary School.heritage, daylesford, townscape, primary school, daylesford primary school

The interior of the timber sawmill was designed to replicate what a mill may have looked like in a small country town circa 1890s. The image shows a rough-hewn building made from tree trunks and raw timber. In the centre, a man is working on making timber planks - around him lat many more pieces. In front a large piece of machinery showing belt-driven parts. The mill was essential to settlement towns, often being the first building to be constructed. pencilled on the reverse 'A8'. Kodak watermarks.sawmill, timber worker

Metal money boxes shaped like common familiar objects became popular in the 18th century. In the 20th century, they were used to promote and advertise events and businesses. In the 1950s metal money boxes shaped like a bank building were given away to children by their parents' bank to encourage them to save money. This metal money box was produced for the company of OXO Ltd of London. It was made specifically as a souvenir of the Coronation of King George VI of England, which happened on May 12, 1937. OXO Ltd. still makes OXO stock cubes, which contain a concentrated meat extract. The cubes are used to flavour soups, gravy, casseroles and other food recipes to enhance their flavour. The cubes are removed from their foil wrapper then crumbled into the dish and mixed with the ingredients. Chemist Justus von Liebig worked with engineer George Gilbert of Uruguay to produce Liebig’s Extract of Meat, the forerunner of OXO . In the late 1890s, OXO produced a liquid form of the meat extract and in 1899 registered the OXO trademark worldwide, and in 1900 in the UK. In 1910 the OXO 'penny' cube was in production and proved very popular. The money box is significant for its connection to British Monarch, King George IV, who reigned from 1932-1952. It is also significant for its connection to the OXO cube, a very well knon brand of food additive from the mid-19th century to current times.Souvenir money box, oval cylinder with domed, pull-off lid and framed coin slot, with seams on each side. It once contained six OXO Cubes. The red tin with gold tin has the Royal Insignia of King George VI and Elizabeth on one side and the Royal medallion-style portrait of King George VI and Elizabeth on the other side. There is an inscription on the base and floral decorations on the sides. It was produced for OXO Ltd, Thames House, London, England, to commemorate the coronation of King George V1 and Elizabeth on May 12th 1937.Logo, Royal Insignia: "[Crown] over "G VI R" Medallion-style Portrait image: "GEORGE VI AND ELIZABETH MAY 12TH 1937" around " (Image of King George VI and Elizabeth) " Printed on base: "CORONATION / SOUVENIR MONEY BOX / CONTAINING / 6 OXO CUBES / BRAND / OXO LTD., THAMES HOUSE, / LONDON, ENGLAND."flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, money box, money safe, commemorative money box, coronation king george iv, 1937, vintage money box, oxo cube, numismatics

Dr. Curt Schimmelbusch (1860-1895), a German physician, designed his original mask around 1889 while an assistant surgeon. Surgical assistants were often assigned the task of delivering the anesthetic. During anesthesia it was not uncommon for ether and chloroform to get onto the patient’s skin, causing irritation. Chloroform can even cause burn-like reactions. Schimmelbusch designed the rim of his mask so that both sides curve away from the patient’s face to form a kind of trough. He intended the trough-like rim to collect excess anesthetic that would otherwise have trickled onto the patient’s face. To anesthetize a patient, gauze was stretched over the metal bars and fastened in place by the hinge. The mask was placed over the patient’s nose and mouth, and the anesthetic was applied in drops or lightly poured onto the gauze so that the patient breathed in evaporated anesthetic as well as air. This type of mask is sometimes still used today for ether anesthesia in developing countries when other means are not available. (Wood Library Museum of Anesthesiology) This particular object is a modified version of Schimmelbusch's design, known as Chadborn's modification.Oval shaped chromium plated mask with two metal strips linked front to back and side to side to create a dome. An oval shaped mobile wire frame is attached to the lower part of the mask by a hinge at the back, approximately two inches from the lip of the metal handle. A "U" shaped bit of metal is attached to the front of the mask which acts as a clip to fasten the wire frame to the lower section of the mask.anaesthesia

Representative samples of fuel such as bark, leaves, twigs etc were minced and the moisture measured The availability of fuel to burn depends largely on its moisture content. When it exceeds 20-25% not much will burn, whereas 12-15% is generally ideal for fuel reduction burning, but if the moisture content drops as low as 7-10% virtually everything will ignite, and fire behaviour becomes extreme. During the afternoon of the Ash Wednesday bushfires on 16 February 1983 fuel moisture contents were recorded at Stawell as low as 2.7%. Fine fuels like leaves and bark can rapidly absorb moisture after a shower of rain, or from the air when the Relative Humidity (RH) is high, and the temperature is low. Conversely, they can also dry out very quickly. So even though the overall fuel quantity in the forest doesn’t change, the fine fuel availability can increase rapidly from zero after rain to many tonnes per hectare as the fuel dries out. This can happen over a few hours on hot and windy days. Heavy fuels like logs on the ground take longer to dry out. Adaption of a timber moisture meter made by the FCV radio lab to measure fuelforests commission victoria (fcv), bushfire, forest measurement