An induction coil consists of two coils of insulated copper wire wound around a common iron core. One coil, called the primary winding, is made from relatively few (tens or hundreds) turns of coarse wire. The other coil, the secondary winding, typically consists of many (thousands) turns of fine wire. An electric current is passed through the primary, creating a magnetic field. Because of the common core, most of the primary's magnetic field couples with the secondary winding. The primary behaves as an inductor, storing energy in the associated magnetic field. When the primary current is suddenly interrupted, the magnetic field rapidly collapses. This causes a high voltage pulse to be developed across the secondary terminals through electromagnetic induction. Because of the large number of turns in the secondary coil, the secondary voltage pulse is typically many thousands of volts. This voltage is often sufficient to cause an electric spark, to jump across an air gap separating the secondary's output terminals. For this reason, induction coils were called spark coils. The size of induction coils was usually specified by the length of spark it could produce; an '8 inch' (20 cm) induction coil was one that could produce an 8 inch arc. (http://en.wikipedia.org/wiki/Induction_coil)A metal and plastic object on a timber stand. In an induction coil the distance between the plates is often used to measure the voltage of the spark since the air breaks down at 30 000 volts per centimetreballarat college of advanced education, scientific instrument, induction coil, scientific instruments, electricity

Used at the Ballarat School of Mines Petrology classes. Probably a second generation petrological microscope used at SMB. Earlier reference ; to " Petrological Microscope" is made in SMB 1908 - 9 calendar page 35. Reference to "Mineral Microscopy" found in calendar for 1896, page 47. Petrographic Microscope with two-lens objective turret in a timber case. The microscope black enameled frame with brass components. Housed in a polished wood case. Three additional polarizing filters in accessory drawer. "E. Leitz Wetzlar No. 139041 Made for Kilpatrick & Co Melbourne" A removable label inside storage case door, dated "I.II.1912" and stating the obtainable magnification ratios.ballarat school of mines, geology, petrography, microscope, scientific objects, scientific instruments

This plan is associated with former Ballarat School of Mines Student Richard Squire (1875-1876). Gift of the Squire FamilyA plan showing the Borough of Smythesdale, Smythesdale, Browns and Scarsdale, allotments, water reserve, Timber reserve, Nintingbool Pre-emptive Right, Reserve for public gardens, Reserve for Cricket Ground, Reserve for Reservoirsmythesdale, scarsdale, browns, yarrowee, carngham, samuel barlett, sheridan, wrigley, p. land, r. simpson, d. davis, nintingbool, mclachlan, a. mclachlan, c. taylor, w. c. smith, d. davies, w. williams, m. jones, t. mcgurk, r. selkirk, a. mooney

The model depicts one of many sailing vessels to travel across the world for trade and migration in the 18th to 20th centuries. The craft of model making is also represented by this model. There are many craftsmen with a fascination for the sea and objects connected to it.Ship model, the sailing ship "General Gordon", in a glass and timber display case. The model is of a four masted Barque with the royal sails over double top and top gallant sails. Inscriptions are on the model. Marked "General Gordon" on side of ship and on red pennant. Flag with crab on one side and shell on other. Union Jack. Red ensign.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, general gordon, ship model, barque, sailing ship, vessel

Probably used for surveying courses at the Ballarat School of Mines Boxed telescopic sight with longitudu=inal bubble level and a quadrant draduated in +- 40 in 100 22mm diameter. Female screw thread base. Push-Pull focussing. Housed in an hinged timber box.drainage level, scientific intstruments, ballarat school of mines, scientific instruments

The Michelson Interferometer, sotred in a polished timber carry case. An optical isntrument, incorporating mirrors, lens, and adjusting mechanisms, all mounted on a heavy and solod cast metal base. Instruction manual available. scientific instrument, bellingham and stanley ltd, interferometer

Set of colour photographs taken by Richard Carter, c1979 - Ringwood Timber and Trading Co demolition, and later photos (undated) of the RT&T yard , Charer Street, looking North East and West.

Diggers & Mining. Diggers and Miners. Early dwellings were made of timber from surrounding forests. Here is an old shop and house combined. Markings: 48 994.5 WAL. Used as a teaching aid.haminounteducation, tertiary, goldfields

colour photo : image shows former police station Thorpe Street California Gully, Bendigo, prior to demolition. Timber house, verandah surrounding, iron roof. Building is surrounded by security fencing.organisation, government, california gully police station, bendigo, sandhurst, police station, thorpe street, california gully, demolition

Collection of Accounts, 1911-12, G J Sweeney, Railway Steam Saw and Mouliding Mills, Sash and Door Factory (Wood Turners, Timber, Lime, Iron and Cement Merchants), Garsed St.business, retail, general, h. j. sweeney & sons

Stained timber frame, dark green matt board conatining photo of Justin having cup of water poured over head. Two Silver service medals with ribbons and service record in Vietnamd6n04, justin, tracker dogs, 7 rar, pte tom blackhurst, australian army training team

Timber framed, red bordered, signed print 110/250, Mike Eggleston 2783957. Depicting 13 soldiers crouching on the ground, in the foreground and 7 Hueys coming in to land. Other troops in the background.We're outta here, Mike Eggleston 2783957, 110/250. On the reverse side are the signatures of D&E PL/1 HRU Reunion, 2010huey, print

Postcard, WW1, sepia image of some ruined buildings, bricks and timber rubble. Some buildings facade at left seem relatively undamaged. Location not identified. Written in pencil on the back is G8 and GS.postcard, postcard, ww1, france, ruins

gold painted light timber shaped like a 21st celebration key with green and yellow ribbons inscribed: 21st BIRTHDAY 1934 -1955 NORTH BENDIGO STATE SCHOOL No 1267 MOTHERS CLUB

Bendigo Advertiser "The way we were" from 1999. Class: Penwinnick at 5 Harkness Street, Bendigo, was built in 1895 by architects W.C. Vahland and Son for John Robert Hoskins, timber merchant.newspaper, bendigo advertiser, the way we were

Black and white portrait photograph of Basil Watson. Timber frame, glass front and wire stand on back. ''Basil'' is handwritten in ink on lower RHS; imprint on backing sheet: '' Sears Studios, Melbourne''Sears Studios, Melbourneperson, individual, basil watson

Vietnamese rickshaw. Predominantly blue in colour material covering the soft-top hood & padded passenger seat is timber with a slatted foot rest. It is powered by a bicycle at the rear of the rickshaw. All metal frames.C Century Saigon Hotel, Ho Chi Minh City.rickshaw

Born: London, Middlesex, England c.1817; Arrived: Sydney, New South Wales, Australia 1842; Died: Bathurst, New South Wales, Australia 1878ColonialLedger Bequest, 1993Watercolour with ink, depcicting two men being robbed at gunpoint in the bush. Immitation timber frame with black painted edge, gold brushed internal window edge, and off white window mountRecto: Signed "G.L." in grey watercolour in l.r.c of composition; Narrative as part of work, '"How much have you” – “only 2 ounces” – “2 ounces?!! You lazy rascal, after 6 months at the diggings if you don’t find more than that I’ll knock you into the middle of next week”' written in grey watercolour across the lower edge of the composition; Not dated; Not titledwatercolour, figures, animals, trees, gun, horse, theif

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Miniature oil painting of a landscape, with creek in foreground and bush and hill behind, by A.W. Eustace, under glass, in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, chiltern, oil painting, landscape

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape

“Overdale” Holden Homestead Concongella. James Holden settled on "Overdale" in the late 1860's. The Holden Family still live at "Overdale" The Holden Family have served on the Stawell Shire Council for over 100 years.Black and White enlarged photograph of house in file and small original photo in album. Building has prominent stone wall and trees around the house which has an inner timber and wire fence. Overdale sign on the stone wall.stawell

Cases and labels are reproductions of those used by donor Robert Petty's father, Milton. Made and donated by Robert Petty. Marked F&M PettyTimber flat box divided across centre to make two square sections. One end is stencilled 'Victorian Pears', variety, count, grade, Metropolitan Australia. V.A.C. inside Diamond Logo.Diamond Logo, V.A.C. in logo.rural industry, orcharding

Possibly used for catching freshwater crayfish or yabbies, nearby in the Goulburn River or other waterways. of critical significanceHOMEMADE WIRE TRAPS x 2. Made from chicken wire. Iron bands supported by green timber lengths. Wire handles with metal spike probably for securing trap to bank/ ground.fishing, food

Photograph, showing the exterior of G.J. Sweeney and Sons Premises in Garsed Street, Bendigo. Moulding Mills, Turnery Works, Timber and Iron Warehouse.Several people standing outside. Photo by Robinson Plate 168.Robinsonphotograph, building, g.j. sweeney & sons

Richard Bate built ‘Avondale’ at 176 Union Road in 1883 as a display home for subdividers of the Windsor Park Estate auction in that year. Richard built many homes in the locality – probably including No.101 Guildford Road, almost identical to his home. Richard also built the Box Hill Shire Hall in the 1880s (replaced in 1934 by the Box Hill Town Hall). Richard junior and family retained this house until the 1950s. Occupied in 2000 by Julie Ellis. In May 2000 Richard's grandson Jack Bate and great-grandsons Alan and Geoff (all of whom are builders) visited 7 Norris Street and lent this photo for copying. Demolished after subsequent sale. A black and white photograph of a Federation/Edwardian style timber house with detailed lacework around the veranda. There is a man standing on the right side of the photo. He is wearing a hat and is sporting a long white beard.norris street, surrey hills, house names, avondale, camelford, windsor park estate, box hill shire hall, builders, federation style, edwardian style, richard bate

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A colour photograph of a balancing rock at Wilson's Promontory mounted on green card in a temporary timber frame. If you are able to assist with information on this artist or artwork please email using the link below right.art, artwork, photography, wilson's promontory, available

The plaque is a clear indication of the respect and gratitude of members of Australian Armed Forces of the RAAMC who served with devotion during the Vietnam war.The RAAMC teams saved many lives and mended many soldiers often working under difficult circumstances and with limited available timeframe to perform their duties.Polished timber plaque with smaller shoulder flashes and badges of Royal Australian Army Medical Corp across the top of the plaque and then with larger shoulder epaulettes and uniform sew-on badge across the middle of the plaque.In Regognition Of All The Doctors And Nurses That Served In Vietnam. They Fought To Save And cared For The Wounded.vietnam, vietnam war, diamond valley vietnam veterans sub branch, medical, mackay vietnam veterans qld

This rocket equipment has been used in various lifeboat and rocket stations on Victorian Coast. It is unclear if this is the original rocket equipment from Port Campbell. This equipment, if not original to the site, has been used in rescue operations and is identical to the equipment that was in use at Port Campbell from C.1890 onwardsBody of rescue stretcher is canvas and timber slats. Straps of canvas webbing attached to sides. Rope loops at either end, rope runs along the length of stretcher. Opens out to secure patient.