Bushfire perimeter rather than bushfire area is the main control problem for firefighters on the ground. A conundrum rapidly compounded by spot fires. A small 5 ha fire can be nearly 1 km around the perimeter. That's a long way to build a control line by hand in rough bush. Dry firefighting techniques by hand were mostly confined to “knocking down” or “beating out” the flames, as well as "digging out". Digging or raking a “mineral earth” trail down to bare dirt proved most effective in forest fuels which, unlike grass, tend to retain heat and smoulder. Early tools were whatever happened to be close at hand. They were simple and primitive and included shovels, slashers, axes, hoes, beaters and rakes. A cut branch to beat the flames was often the only thing available. Farming and logging tools, developed over centuries of manual labour, and readily available at local hardware stores came into use, but little thought was given to size, weight, and balance. This canvas hose beater was based on a century-old design which used lengths of canvas fire hose rivetted together and lashed with wire to a broom handle. The hose was be soaked in water to improve its effectiveness. If the flames were more than a metre or so the user was generally not able to get close enough to extinguish the fire It's recommend that users lift no more than above knee height to conserve energy and let the beater to the work. For years foresters experimented with combination tools. In about 1952 fire beaters and other implements were being replaced with Rakuts and later RakehoesEarly firefighting toolBushfire beater - Canvas with wooden handleR P PWD (Public Works Department) The handle has painted markings which indicate which FCV District it belonged to.bushfire

Kurting. Mechanics' Hall OFFICIAL OPENING. SUCCESSFUL FUNCTION. Favored by beautiful weather, the official opening ot the new Mechanics' Hall erected at Kurting proved an entire success. There was a large attendance ol local and district residents, and a sports meeting held during the afternoon in aid of Red Cross funds resulted in a substantial amount being netted. The hall, which stands on ground generously donated by Mr J. Hogan, between the school and the creek, is a substantialyvconcrete building of pleasing design, and was erected at a cost of about £330 by Mr J. H. Secombe, who also materially assisted the committee in the matter of finance. It is 48ft. long by 24ft. wide, with 12ft, walls, and should prove equal to the needs of the district for many years to come. It is well ventilated, and has large windows, these opening outwards on hinges. Doors at each side, and the back, as well as in front, give free means of access, while a fireplace in the back allows of provision being made for supper arrangements, water being laid on from a tank. Provi sion has been made for the partitioning off ot portion of the hall at any time this may be considered desirable. To provide a stage eight tables of a uniform size have been constructed to fit across the width of the hall. By these it will be possible, when euchre parties are being held, to use the full length of the hall. ... (Inglewod Advertiser, 19 July 1918) and also to convert tiie "stage" into card tables. The committee still has work ahead in the provision of a ceiling for the building and seating accomodation, but there is no doubt that the public support accorded them will be sufficient to enable these matters to be dealt with in the near future. A fine floor has been put down.Photographs of the former Kurting Hall, Victoria.kurting, kurting hall, john hogan, kurting mechanics' institute

This item was inherited from the donor's father, René Dupuche. John Dupuche, writes: This magnifying glass was used to remove the burrs and thorns that wool-buyers tended to get in their fingers when examining bales of wool. The open end was placed on the finger since the thorn was sometimes buried under the skin. The buyer looked through the magnifying glass and with tweezers or a pin removed the thorn which had rendered the finger inoperative. The wool-buyers needed the sensitivity of their fingers to appraise the suitability of the wool, as buyers had for centuries past, measuring the length of the staple, feeling and counting the crimps in the fibre, its finesse, softness, elasticity and strength, assessing the colour, watching for extraneous matter such as dust or seeds which would not be welcome by manufacturers half-way across the world. Their skills took years to acquire. Knowledgeable buyers were invaluable to their employers, since they were able to evaluate to the last percentage the yield of a bale. My father, René Dupuche, was the ‘principal buyer’ from 1927-1966 in Victoria, South Australia and Tasmania for the international wool company ‘Masurel Fils’ which was one of the largest wool businesses in Europe. It was based in the north of France, in Tourcoing, one of the major wool centres of the world. He was sent to Australia as a young man at the age of 23 and took part in the ‘golden era’ of wool in Australia, and the eventual replacement of hands-on appraisal by ‘core-testing’. Masurel Fils was one of the dozens of French and Belgian firms operating in Australia. These men from Flanders enjoyed a cosmopolitan society augmented by diplomats, European bankers and shipping-line executives for various countries and a handful of scientists and academics.Small black metal magnifying lens with three fold design and two hinges. One panel contains a circular glass lens, the centre panel has a circular hole, and the third panel has a square hole with three lines on each side.wool buyer, magnifying glass, magnifying lens, burrs, rené dupuche, john dupuche, migrants, masurel fils, french, belgian, flanders, working life, sheep industry, wool industry, agriculture

\When the railway reached Wodonga from Melbourne on 19th November 1873 the first station building, which included a refreshment room and dining room, was a temporary structure. It was 300 ft. long and was removed and taken to Beechworth when the new station was built in 1874 by contractor J. Richardson. The Goods shed was 100 feet long and was built by Frew & Hill in 1873. One year later it was extended an additional 150 feet by James Nation. The date of the construction of the Locomotive shed is not known but predates 1883. It was a galvanised iron clad building which housed 4 engines on 2 tracks; in 1910 it was extended to 250 feet in length to house six more engines. The location of the railway tracks and station were a constant cause of congestion in the centre of Wodonga as the tracks crossed over Sydney Road (later named High Street). Lines of traffic were frequently banked up as the gates were closed to allow trains to cross. The Wodonga Rail Bypass project moved Wodonga station from the original central location to a position on a new line on the northern edge of the town. Not only did this release land in the middle of the city for commercial and public use, but also eliminated 10 level crossings. The project actually commenced in 2008 with the last passenger train passing through Wodonga on 8 November 2008. On 23 July 2010, the new rail bypass was opened, the original line through Wodonga closed and the station fell quiet. The area has now been redeveloped as Junction Place and the old buildings now house a restaurant, cafe and the Goods Shed Craft Beer Cafe.These images are of local, state and national significance as the Wodonga Railway complex formed a vital link in the Victorian state, interstate and national railway system.A collection of colour photos of the buildings at the former Wodonga Railway Stationwodonga railways, railway station wodonga, junction place wodonga

This ‘heroic size’ reclining figure is a copy made from one of The Parthenon Sculptures currently housed at The British Museum, and thought to represent the river-god Ilissos. This piece was part of the Ballarat Technical Art School's collection of reference for art studies, and became affectionately known as 'Hercules' by subsequent student cohorts. The cast was likely made by Brucciani and Co. London, and part of a consignment delivered to the School during the 1920s. This cast replicates one of a number of relics acquired by Thomas Bruce, seventh Earl of Elgin and ambassador to Turkey, (Lord Elgin) in Athens in the early 19th century. (Hence, these works were sometimes collectively referred to as the Elgin Marbles). Ownership of the artefacts, once part of the 2,500-year-old Parthenon temple, is disputed by Greece. It maintains that Elgin removed them illegally while the country was under Turkish occupation as part of the Ottoman Empire. The items were sold to the British Museum in 1816 and have remained there ever since. The original "Ilissos" was located on the west pediment of the Parthenon in Greece, and was created in c435 BC. It is unknown if the statue was in position or had already fallen when removed from the Parthenon by Elgin. The Royal Academy London also holds a copy of this plaster cast. The Ballarat Technical Art School boasted a well-stocked Antique Room replete with plaster copies of classical, Renaissance and Gothic sculptural examples, which were used as drawing props by students. The school inherited some casts from its predecessor institutions, and further consignments were purchased during the 1920s, including full length, bust and relief figures, as well as dozens of ornamental and architectural casts. Unfortunately, much of the collection was lost or destroyed in the late 1950s.Quality examples of heroic sized plaster replicas are now rare, as many plaster collections were destroyed or lost when the copy of antique examples fell out of favour with art schools.Plaster cast used during Drawing classes at the Ballarat Technical Arts School. It is likely a headless depiction of the river god Ilissos.hercules, ballarat technical art school, elgin marbles, plaster, plaster cast, figure of a river god, parthenon marbles, ilissos, copy, drawing the human figure from cast, drawing from the antique, visual arts

This is a set of 1photographs of surveyors in the field measuring distances using chains, taking observations using theodolites and operating electric distance measurement equipment. They were probably employed in establishing mapping and geodetic control operations or the surveyors may have been in training. The photos were most likely taken in the 1950s and 1960s. Photos .1P to .6P feature personnel setting up geodetic survey chaining equipment to measure distances. The surveyor in Photo .5P is LTCOL Howard Angus Johnson MBE who served from 1936 to 1954. The RA Svy surveyor in photos .7P to .12P were using a theodolite to take angular measurements. They were usually supported by an observer who recording their readings on a booking form. The surveyor in Photo .10P and .11P is LTCOL Jorge Gruszka, who served from 1955 to 1985. He was CO of the Army Survey Regiment from 1982 to 1985. The surveyor in photo .13P is cutting an identification blaze on a tree using a hammer and chisel. The tellurometer in Photos .14P to .16P was a MRA1 microwave Electronic Distance Measuring instrument (EDM) introduced in 1958. It and later models were man-portable systems that improved geodetic survey efficiencies for rapid network extension and densification replacing triangulation with EDM and theodolite traverse sometimes using Bilby Towers to extend line lengths. The surveyor with the slouch hat is Colonel James ‘Jim’ Leslie Stedman, who served from 1941 to 1978. He was Director of Military Survey from 1975 to 1978 and was appointed as Colonel Commandant (honorary appointment, Retd) of the Royal Australian Survey Corps from 1978 to 1983. Jim Stedman is demonstrating EDM equipment.This is a set of 17 photographs of surveyors in the field measuring distances using chains, taking observations using theodolites and operating electric distance measurement (EDM) equipment. c1950s – 1960s. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, c1950s, unidentified personnel using geodetic survey chaining equipment. .2) to .4) - Photo, black & white, c1950s, geodetic survey chaining equipment. .5) – Photo, black & white, c1950s, Jim Stedman using geodetic survey chaining equipment to measure distances. .6) - Photo, black & white, c1950s, Unidentified personnel geodetic survey chaining equipment. .7) – Photo, black & white, mounted on card, c1950s. Unidentified surveyor undertaking observations on a coral reef using a theodolite. .8) – Photo, black & white, c1950, unidentified surveyor undertaking observations with a Tavistock theodolite. .9) – Photo, black & white, mounted on green card, c1950s. Unidentified surveyor undertaking observations using a plane table. .10) – Photo, black & white, c1955, Jorge Gruszka undertaking observations with a theodolite. 7/55 Basic Survey Course Balcombe. .11) – Photo, black & white, c1950s, Jorge Gruszka undertaking observations with a theodolite. .12) – Photo, black & white, c1946-1948, unidentified surveyor undertaking observations with a theodolite to gain control for the mapping of the Snowy Mountain Diversion Scheme. .13) – Photo, black & white, c1950s, unidentified surveyor cutting a blaze in a tree. .14) and .15) – Photo, black & white, c1960s, Jim Stedman demonstrating EDM equipment. .16) – Photo, black & white, c1960s, L to R: Jim Stedman (probably) and unidentified surveyor demonstrating EDM equipment. .17) – Photo, black & white, c1950, unidentified surveyors undertaking observations with a theodolite in extreme conditions..1P on back - First Order Chaining Equipment .2P on back - First Order Chaining Equipment .3P on back - Full catenary 1800 – 1960 replaced by EDM .4P on back - First Order Chaining Equipment .5P on back - H.A. Johnson, Benambra baseline? 1st Order Chaining .6P on back - Chaining .7P on front - Difficult observing conditions especially when the tide is in. The station is sighted (sic) on a coral reef. .8P on back - Tavistock. .10P on back of duplicate in Photo Folder 14 – George (sic) Gruszka 7/55 Basic Survey Course Balcomme (sic) 1955/56 .14P and .15P on back - Jim Stedman demonstrating early EDM equipment.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, surveying

Uniform issued to S/SGT "Brian Thompson". Years of service 1973 - 1993. 316221.1. Jacket - white colour polyester/cotton fabric, rolled collar jacket, shoulder epaulettes, top of sleeves, black colour rank badge with gold colour crown and three stripes = Staff Sergeant. Manufacturers label back below collar. 2. Trousers - black colour cotton/polyester fabric with fob pocket and two side pockets. Metal and nylon zipper fly. Red colour wool fabric twin 2 cm stripe down each side seam. Manufacturers label back below waistband. Black colour polyester fabric lining waistband and pockets. Black plastic button inside waistband. 3. Cummerbund - Red colour polyester fabric, broad waist sash with three pleats, metal hook and bracket buckle and hook and loop fastener to adjust lengthy. Black colour polyester fabric lining. Manufacturers label. 4. Bowtie - black colour polyester fabric, pre-tied bow tie with metal clasp. Manufacturers label. 5. Braces - set of white colour cotton elastic braces with metal clips to attach to trousers. Metal slide clips to adjust length and plastic strap joiner.Manufacturers information. 1. Jacket - black fabric label - TETOROM/ 65% POLYESTER/ 35% COTTON/ WIMBLEDON WEAR/ MELBOURNE". White fabric label "97R/ WARM MACHINE WASH/ D NOT BLEACH/ MACHINE TUMBLE DRY/ WARM. WARM IRON." 2. "A.G.C.F./ VICTORIA/ 1987/ ^/ ARMY NO/ NAME" 3. "POLYESTER/ DRY/ CLEAN/ (50c) ONLY" 4. POLYESTER/ DRY/CLEAN/ (50c) ONLY"uniform, army, mess dress, brian thompson

Long sleeved full length dress of black synthetic silk fabric. Fabric has silken feel with a smooth satin like backing. Front has U shaped neckline with panel of cream silk lace extending from shoulder to below neckline(28cm). Back neckline faced with lace fabric. Front and back have a narrow central panel(16cm) of fabric extending from shoulders to hemline. The panels are extended at the waistline to join the front and back with loose tabs.The centre panel on the front bodice is edged with a finely pleated frill of synthetic fabric. The centre panels at front and back are also edged with finely pleated frills, from 42cms above hemline to the hem. The bodice is completed with side panels attached to the centre panel The skirt is completed with side panels attached to the centre panels. Set in sleeves have a squared extension that extends to the elbow. From the elbow the sleeves taper to narrow fitting at the wrist. The upper seam of the sleeves from the elbow to the wrist are edged with a finely pleated frill of synthetic fabric. The upper seam of each sleeve from elbow to wrist have fifteen decorative back and gold buttons stitched along the lower edge of the frill. Dress is unlinedcostume, female, black synthetic silk dress

Embroidered silk tulle with an embroidered geometric pattern - .75 cm X .05 cm. 20 cm wide deep frill at hemline. Frill is made of the same fabric, but has a border of embroidered flowers edging the frill.A narrow band of satin ribbon, .05cm wide is stitched midway on the frill. The same frill outlines a deep V shaped neckline front and back, starting 8 cms from the shoulder along the puff sleeves. The main sheer fabric extends to a high round neckline, defined with a band of ribbon and a 3 cm wide frill at the throat. Back neckline fastens with metal hook, and handstitched loop, and a zip extends on the main body of fabric. Back of skirt is gathered, and front has three pleats either side of centre to give fullness to the skirt. Fine elastic marks a frill at the elbow length sleeves, finished with a ribbon bow. Bodice and skirt are lined with silk taffeta fabric, including a frilled skirt, bodice extends to a V shaped waistline. The dress mounted on silk taffeta, extended to a train at the back. Kerryn's dress was made by her mother, Merle Houlden, as a labour of love. Marriage of Kerryn Houlden and Bruce Roberts - April 1985.costume, female, wedding dress

Sleeveless mid blue below the knee length dress of rayon fabric. Shallow scooped front neckline. Wide shoulders extend over top of arm. Front of bodice in two parts. Top yoke is attached to 12cm midriff section. Midriff section has wide section with two side sections. Front yoke section is attached to midriff section with two small pleats under bust on either side of centre. Across the centre seam of yoke and midriff is a decorative strip of light blue lace of open floral pattern. The back of the bodice is of two pieces with centre seam attached at the waist with vertical darts on either side of centre. Back opening with 50cm metal zipper beginning 9.5cm below the rounded back neckline. Skirt is made of two pieces joined at front and back centre. Front centre panel 16cm with centre seam. From side of centre panel, the skirt is box pleated (4cm). Six box pleats on either side attached to waist of bodice. Pleats continue to back centre seam. Decorative piping attached around waistline. Machine stitched. Unlined. Faced at neck and sleeves with same fabric. Part of ensemble with 11400.523.Created by ZANKO of Melbournecostume, female daywear, dress

Ladies waist length black satin boned bodice. Chelsea style collar forming V shaped neckline dipping to eight cm above the waist. Centre insert of horizontal pintucked fabric extends at centre front from throat to just above wrist. Fastened at centre front with thirteen metal hooks and eyes and crossover fastened on LHS with four hooks and eyes. Bodice is lined with black cotton fabric. Collar extends over shoulders to form imitation collar at back extending to centre back waistline. Centre V shaped insert of pintucked fabric hand stitched in place. Nine fabric encased bones inserted into waistband. Two bones on either side of front of bodice, and one bone on each side seam and three bones across the back of the bodice. Stand-up collar with horizontal pleating (5cm wide). Fastened over left shoulder with three metal hooks and eyes. Long sleeves widening at elbow and gathered onto 25 cm lower sleeve narrowing to wrist. Lower sleeve has three X three groups of horizontal pintucks. Slit at wrist - eight cm fastened with two metal hooks and eyes.costume, female, ladies black satin boned bodice

Demonstrates the source of the tramcars for both Ballarat. Gives details on equipment, sizes and seating capacity of the tramcars as at August 1964 with hand written notes about the acquisition and disposal of some of the tramcars.Printed List of trams and their details for Ballarat Trams ( similar to item 3430.1), dated 5-September-1966, titled "Numbers and Particulars of Trams". Handwritten notes have been made for the acquisition dates for the tramcar and disposal details of the vehicle along the top edge. 3430 - Ballarat - typed carbon copy - two sheets, were taped together. Gives details of where purchased from , date of purchase, type, body builder, seating capacity, overall length, overall height, overall width, condition of tram, trolley base, Lightning arrester, controller make and type, Truck Maker and type, type of truck, axle type, wheel base, axle diameter, motors type and maker, Motor horsepower, Armature bearings, suspension bearings, gear teeth, Air compressor make and type, Brake Valves make and type, Governor make and type, Weight in tons and details of advertising space in racks. At base has typed (original) list of trams of the two types, single truckers and bogie trams. List of trams includes the scrubber and No. 20 which was scrapped prior to system closure. Handwritten notes have been made for the Acquisition dates for the tramcar and disposal details of the vehicle along the top edge.tramcars, ballarat, sec, disposal, sale of trams, acquisitions

Lily and William Wishart lived during this period in 'Noranook', Fernhurst grove, Kew. There are numerous contemporary accounts of the social and civic activities of Lily Wishart as mayoress of Kew. In a description of a 'Mayoral At Home' in the Kew Recreation Hall, a report in The Australasian (10 Aug 1907, p.46) described the event thus: MAYORAL AT HOME In the Kew Recreation-hall on Thursday evening the Mayor and Mrs. W. Wishart gave an at home to between two and three hundred guests. ... Prior to the musical programme, the mayor and mayoress held a reception, standing on a dais at one side of the room. Mrs. Wishart was gowned in black glace silk, trimmed with handsome lace applique, and she wore a cream Maltese lace scarf over her shoulders, and held a bouquet of cardinal carnations.' This may be the dress in the collection. Another interesting and relevant report is an account in The Argus (19 March 1907, p.6): 'WOMEN'S WORK EXHIBITION The mayoress of Kew (Mrs. W. Wishart) invited the ladies of the district to meet in the mayor's room, town-hall, Kew, at half past 3 o'clock tomorrow afternoon, to consider steps to be taken locally in support of the proposed Exhibition of Women's Work.'The dress is locally significant as the work of a skilled home-dressmaker in Kew, who was also a leading civic figure in the municipality. One tends to think of amateur dressmakers as women who could not afford to purchase clothes from a retailer. Clearly, 'women's work' and the skills that educated and wealthy women acquired in the period allowed them to fashion their own garments.Full length evening dress in four parts. Undergarments include two items: a basic black silk petticoat and an upper black silk slip, the latter with two bands of ruffles. The lace dress is in two parts: a bodice and a skirt. The black, high-necked bodice is constructed of silk organza to which guipure lace has been extensively applied. The bodice has long puffed sleeves, gathered on the forearm to form a wide band of lace and ribbon at the wrist. The skirt is constructed of the same black fabric with descending bands of gathered black silk ribbon, used as ornamentation. The skirt also features a long train. Apart from the donor information about its provenance, the style of the dress can confidently be dated to the period 1900-1910. The dress was made and worn to civic functions by Mrs Lily Wishart, Mayoress of Kew in 1906-7. Earlier items belonging to William and Lily Wishart entered the collection as early as 2002. The dress was donated by a descendant of a friend of Lily Wishart in 2020. The photograph of the dress and its components attached to the record needed to be digitally enhanced so that details of the dress could be viewed online, as the fabric of the dress is an intense black. A physical assessment of the dress is included in the condition report.fashion & design collection - kew historical society, australian fashion - 1900s, evening dresses, lily clara wishart, fashion design, fashion -- 1900s

This bridesmaid's dress was owned and first worn in 1875 by Alice Frances Henty, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. The outfit was worn at the marriage of her friend Miss Hopkins to Mr ST Staughnton in 1874. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.An ivory silk skirt and matching jacket worn by Alice Henty, aged 22, at the marriage of her friend Lizzie Hopkins and S.T. Staugnton in 1874. The ivory silk satin peplum jacket is boned, tailored, and fitted with many princess line panels. The front closure has handmade embroidered buttonholes and covered buttons. The collar and sleeves are decorated with gathered silk tulle frills. The peplum back features a silk cord bow decoration. The skirt with bustle and train features a central panel with hand ruching and silk satin piping. It is decorated with five rows of pleated silk tulle frills. Measurements (mm): PEPLUM JACKET Girth - Neck 317.5, Chest 914.4, Waist 698.5, Hip 965.2, Cuff 279.4, Hem circumference 1168.4. Vertical - From neck to hem 558.8, Front waist to hem 254, Back neck to hem 838.2, Back waist to hem 241.3, Sleeve length 279.4. Horizontal - Neck to sleeve head 165.1,Cross back 292.1, Underarm to underarm 393.7. SKIRT Girth - Waist 635, Hip 914.4, Hem circumference 3810. Vertical - Front waist to hem 1092.2, Back waist to hem 1701.8. fashion -- 1870s, alice frances (henty) hindson, women's clothing, bridesmaid's dresses

This peignoir or morning gown is believed to have belonged to Mrs Thomas Anne Ward Cole, an early Brighton resident and wife of George Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished.A mid blue-green cotton and lace peignoir or morning gown, c.1860. The bodice starts at the neck with a clavicle height, rounded neckline with a turn down flat collar, and is finished with a cream lace frill next to the face. The sleeve starts at the natural shoulder line and its overall silhouette is reminiscent of a soft three quarter length imbecile sleeve constructed of four layers of alternating fabrics. At the shoulder, there is a blue-green flap, which crosses across the top and back of the shoulders towards the centre upper back in a 'v' shape. Here it finishes where it meets with the gathered top of the fabric that creates the train. Underneath this shoulder flap is a gathered, long cream frill that finishes just above the elbow. Underneath this frill is the full gathered blue-green sleeve. Finally falling from this a second gathered long cream frill finishes at the three quarter arm. The bodice buttons with five metal buttons from the neckline to just above the bust. Here it meets a heavily gathered front in two pieces, which falls with fullness to the floor. This full section is secured closed at the centre front with four hooks and eyes over the bust and then continues with shell buttons through the remainder of the garment.st ninians, george ward cole, morning gown, peignoir, brighton, thomas anne ward cole, margaret morrison ward cole, agnes bruce ward cole

The photograph is taken in the Physiotherapy Department at Mount Royal Hospital. RDNS Sr. Sue Revill is from RDNS Moorabbin Centre and Sr. Helen Watt is from Footscray Centre, They are attending an Education session on Rehabilitation at Mount Royal. Hospital. They are wearing the RDNS winter uniform of a blue/grey skivvie under a V neck tunic style herringbone winter material dress with the RDNS insignia emblazoned on its upper left.Education was an integral part of Melbourne District Nursing Society (MDNS), from its inception in 1885, later, in 1966, called Royal District Nursing Service, (RDNS). From 1885, only Trained Nurses (Nurses) who trained through the Hospital training system were employed by the Society, and on visits to patients they taught the necessity of hygiene and cleanliness, as well as the need for a good diet, to bring about good health. Doctor’s lectures were later given at the MDNS home to instruct patients and their families on prevention of disease. Education to patients continued throughout the years regarding health care and the use of equipment in the home. In 1961, Education programs commenced at MDNS with their Trained nurses (Sisters) receiving In-service education. Sister Pat (Paddy) Rowley was a leader in this In-service Education and established the MDNS, later called RDNS, Department of Community Nursing Education in 1962. Staff could also apply for scholarships to further their education outside of RDNS. Many of their senior Sisters received Postgraduate diplomas from the College of Nursing in Community Health Nursing, Education, and Administration, and several travelled overseas visiting nursing organizations viewing their public health and district nursing systems. Many programs were run at RDNS, including: a Post Basic Course, Cardiac Rehabilitation Nursing, Haematology/Oncology Nursing, Palliative Care program, Diabetic Stabilization Program, Leg Ulcer Management Program, Wound Care Specialist Program, HIV/AIDS Nursing Care, Cystic Fibrosis Home Support, Veterans Home Care Program, Breast Cancer Support Program, Continence Management Program, Stomal Therapy Program, In-Home Lactation Support Program and the Homeless Persons Program. RDNS staff attended several hospitals to observe and learn special care needed to some clients, e.g. to the Austin Hospital to learn the care required for paraplegic and quadriplegic clients at home, and to Mount Royal Hospital to observe the care of clients in the Rehabilitation ward. A Community Nursing Education Program was extended to Student nurses from Hospitals and to other nursing organizations. These Education programs kept the RDNS Sisters abreast of new techniques, such as changes in technology for e.g. new testing methods in detecting glucose levels in Diabetic patients. Sr. Nan Deakin did a Post Basic Course in Psychiatric Nursing and included this area in her education lectures. Sr. Daphne Geldard specialized in the area of Alzheimer’s disease and Dementia. These Sisters visited patients in District areas with the regular RDNS Sister when required. Every member of staff, both professional and non professional staff, received regular education in the Education Department. In 1980, a Home Health Aide pilot study, funded by the Federal Government, the Brotherhood of St. Laurence and RDNS, with the program written and taught by Sr. Rowley, was evaluated as successful, and Home Health Aides were employed and worked in RDNS Centres under the supervision of the RDNS Registered Nurses. Black and white photograph depicting, on the left, a side-on view of a Hospital Physiotherapist with her long hair drawn back in a pony tail, and wearing a grey V neck dress over a white blouse and a dark cardigan who is facing right. She has her left hand on the arm of a standing lady and her right hand on the lady's hand which is on a walking rail. To the right rear of the Physiotherapist is Royal District Nursing Service (RDNS) Sister Sue Revill who has shoulder length dark hair and is looking at the lady. To her right the elderly lady who is wearing glasses; has wavy white hair and is wearing a light grey frock, is standing in front of a wheelchair with her right hand on the walking rail. Her left arm hangs loosely by her side. To her right is a walking rail and standing to its right is Sr. Helen Watt who is looking towards the lady. She has short dark wavy hair, and has her right arm around the back of the lady and her left hand is on the walking rail. In the background of the photograph, the lower section of several 4 prong walking stick are seen hanging on the wall. Barry Sutton photographer's stamp. Quote KY 78rdns, royal district nursing service, rdns uniform, rdns education, sister sue revill, sister helen watt

The RDNS Sister is visiting the gentleman in his home and has dressed the wounds on his toe. The dressings applied have been ordered by a Doctor. Under her gown, the Sister is wearing her RDNS winter uniform of a blue/grey skivvie under a tunic style frock made of blue/grey herringbone winter materialFrom its inception in 1885 the Trained nurses (Nurses) of the then named Melbourne District Nursing Society (MDNS), later named Royal District Nursing Service (RDNS) gave high quality nursing care to patients in their own homes. They nursed patients referred by Hospitals and General Practitioners giving treatments, such as injections, wound care. When sterilized dressing trays were used for the first visit, and if applicable, the Sister demonstrated how to sterilize a 'home set up', using the washed forceps from the tray and using a clean cup and plate, making sure there were no chips or cracks, which were to be used to hold lotion and dressings at the time of future visits. They were given written instructions in how to sterilize this equipment in a saucepan on the stove prior to the next RDNS visit. Patients bought their own dressings, if not supplied by a hospital, and the attending Sister demonstrated how to sterilize these in the oven, using a casserole dish as a receptacle. Clear written instructions were left with the patient.Black and white photograph showing a Sister from the Royal District Nursing Service (RDNS), giving specific care to the feet of a gentleman. The RDNS Sister has shoulder length dark hair and is wearing a white gown over her RDNS uniform. The gentleman has balding dark hair and is wearing a dark dressing gown over his pyjamas. He is seated in a recliner chair in his lounge room and has his legs extended with his feet resting on the recliner foot. He has a slipper on his right foot and nothing on his left foot. The Sister is sitting on a stool to the right of him him with equipment, a cup, saucer and forceps and a casserole dish containing dressings, on a tray in front of her on a small square wood and cane stool. She has her right hand on the gentleman's left foot and pieces of dressing material can be seen around three of his toes. There is a patterned rug, under the recliner chair, sitting on top of the carpet. To the left of the chair part of a brick fireplace can be seen. Two windows with open short patterned curtains can be seen in the background. In the right foreground, part of a white and floral tablecloth can be seen hanging over a low table.Photographer stamp. Quote No. DN 86royal district nursing service, rdns patient care, rdns wound care

Compact Diskette with video (DVD), titled "Melbourne all over", Yarra Trams promotion video, first made in 2004 and then revised August 2006. Has copy right to "Metrolink Victoria". Length 10mins 15 secs. Has intro from announcer Alan Pearson. Has a printed image on the DVD itself and contained within a clear front, black plastic base CD case. Features the use of low floor trams, Melbourne's city attributes, the tram system, public transport, how the city works with the trams, some spoken words from Peter Batchelor, Minster for Transport, images of views of the C class being offloaded from the ship. Explains the relationship between Transdev and Transfield Services, the franchise arrangement, passenger growth, many views of the C class operating. Dennis Cliche speaking about the Think Tram project, Eastern Roads Operations Centre (EROC). Clip from 7 news about the launch of the C class trams. short clips with Steve McEvoy, Rod Beet, Chris Bela Anthony Nichols - disability consultant of Yarra Trams. .1, original version, in shaped case. Added 28-8-2017.trams, tramways, yarra trams, melbourne, public transport, the met, c class, route 109, superstops, events

This set of photos is from a leather bound album bearing the inscription "HUME RESERVOIR AUSTRALIA" plus 'The Rt. Hon. L. C. M. S. Amery, P. C., M .P.' all inscribed in gold. It was presented to The Rt. Hon. L. C. M. S. Amery, P. C., M. P, Secretary of State for Dominion Affairs on the occasion of his visit to the Hume Reservoir on 2nd November 1927. This album is of local and national significance as it documents the planning and development of the Hume Reservoir up to 1927. It was the largest water reservoir in the British Empire. The album records the pioneering engineering work that went into its construction.2. Detail Plan and Section. Starting from the New South Wales and there will be an earthen embankment 430 feet 6 inches long which is retained by the North Wing Wall. Then come the sluice section 284 feet 3 inches long, the spillway 720 feet long and the South Wing Wall, making a total length of 1,042 feet 6 inches of concrete wall. Beyond the South Wing Wall is earth embankment again to a length of 3,827 feet. The Full Supply Level is R.L.626.00 and allowance has been made for a surcharge of 9 feet. A road will run along the top of the dam at R.L.642.00. The sluice section contains seven offlets, the three nearest the north wing wall being 13 feet in diameter for hydro-electric purposes and the other four 9 feet in diameter for regulation purposes only. There are to be stony sluice gates on the upstream ends of the outlets and needle valves on the downstream ends. The shock of the discharged water will be taken by a stilling pool. Trash racks will protect the intake ends of the outlets. Next comes the spillway section, which is curved on the downstream face, and carried up to within 15 feet of the full supply level. Above that will be a series of piers between which will be the flood gates and on top of which the roadway will be carried. The gates will be 20 feet wide and 15 feet high and will be 29 in number. They will slide down the face of the wall when opened for the escape of the water. The investigation of the control of this cascade of water was made by means of a model and as a result the form of “bucket” or energy dissipater shown on the section of the spillway was decided upon. The earth embankment in Victoria is being constructed by the State Rivers and Water Supply Commission of Victoria who are the Constructing Authority for that State under the River Murray Waters Agreement. The core of the embankment is of concrete 6 feet wide at the base tapering to 2 feet at the top end and is reinforced with steel rods from the level of the decomposed rock upwards. On the downstream side, at about natural surface level, is a tunnel for drainage and inspection purposes. Above the tunnel is a vertical layer of large stones to drain any seepage to the tunnel. Against the core wall is packed selected material of as impervious a character as can be got locally and beyond that the bank is carefully built up in horizontal layers by means of horses and wheel scoops. The upstream slope is 3-to-1 hardening to 2½-to-1 at the top and the downstream slope is 2½-to-1 hardening to 2.07-to-1 at the top. The thrust of the upstream toe is taken by a mass of granite blocks, and this face is protected by concrete laid in situ. The width of the bank at base is 650 feet and at top 32 feet.hume reservoir australia, river murray waters scheme, hume weir diagrams, hume plan details

Used by students attending surveying classes at the School of Mines & Industries, Ballarat.Surveyor's level caste in metal with brass trimmings. Features external focus, twin inclined vertical crosshairs with stadia wires. With ray-shade clinomenter. Three levelling screws. Without transverse level (mounting provided). dust shield for object. Features glass lens x 2. Timber carry case features dovetailed joints, separate lid attached to body of case with two brass piano hinges along back side. Case has a metal carry handle screwed to each end. Matches tripod Item 4116 Item's serial number: 99142*The timber lid of the carry case has 'L3' painted on it in white paint. *The paper label glued to reverse side lid of inside carry box reads: STANLEY'S PATENT LEVELS AND THEODOLITES No.99142 July 1899 STADIA POINTS SET=1 : 100. In taking readings of a distant staff by means of the subtense points in the diaphragm, read every 1/100 foot (or metre) on the staff as being equal to one foot (or metre) of distance from the centre of the instrument adding to the reading of plus constant of 18 3/4 inchess from any distance shown. W.F. Stanley, Great Turnstile, Holborn, London. *The paper label glued to lower edge inside lid of carry box reads: N. H. SEWARD, "Optical House" 457 BOURKE STREET (Near Queen Street) MELBOURNE *Engraving on brass plate encompassing the catch on front edge of the timber carry case reads: H&C L (inside an engraved heart on LSH) EUCHRE LEVER (engraved on RHS of brass plate) *Maker's mark is engraved along the length of the telescope barrel: 99142 Stanley. Great Turnstile Holborn, London. level, theodolite, surveying instrument, surveying, scientific instruments

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

Lightweight knee length linen coat with long sleeves. The coat is single breasted with a V neckline with a fold over collar of black linen fabric. There are two rows of black cotton piping on the edges of the collar. The front is made up of four pieces. The two centre panels are shaped at the bust line. The two side panels are narrow at the shoulders and flare slightly from the hip line to the hem line. There is a decorative line of stitching on the front seams. The front of the coat is fastened with three black buttons (2 cm) and button holes. The back of the coat is made up of three pieces. The centre panel is shaped in at the waistline. The two side panels are narrow at the shoulders and flare slightly from hip line to hemline. The two back seams each have three decorative black buttons (2 cm) vertically between bust line and waist. There is a decorative line of stitching on the back seams. The coat has long set in sleeves shaped at the elbow and with black linen cuffs (10 cm). There are two rows of black cotton piping on the top edge of each cuff and one row of black cotton piping on the lower edge of each cuff. There is a 14 cm cotton tape hanging tag stitched inside the coat just below the collar on the back. Machine stitched.costume, female daywear, linen coat

Clothing. High stand-up embroidered net collar-close fitting to the neck, and fastening at the back with now 4 metal hooks and loops (one hook missing) and edged at top and bottom with tiny black beads. Five metal ''curved wires'' 7 cm long, are spaced around the up right ''collar'' (to hold in place). The embroidered net forms a V shaped panel at the centre front, and has 15 silk covered oval buttons .8 cm long, from throat to lower bodice. This panel is bordered by embroidered and beaded braid, 7 cm wide and giving a cross-over effect. Cotton tape inside waist 66 cm long fastens with two metal hooks and eyes.Under this lace cross-over, the bodice is shirred and pleated, to give fullness for movement. Pleats are ''caught-in'' at the waistline. An elbow length over-lay of sheer silk fabric, edged with the beaded braid. The sleeves are silk fabric to the elbow, and then narrow in to a three hook plackett at the wrist. This lower sleeve with a 2.5 cm lace frill, and a spotted tulle fabric, and ''dotted'' at the upper side with a double row of tiny black beads. A false tucked effect at opprox knee level at back of skirt. Back hemline extends to a small ''train''. Hemline is heavily weighted.costume, female, full length long sleeved black dress

This dress, which was made around 1820, was passed down through five generations of a single family before its donation to Brighton Historical Society in 2007. It originally belonged to a great-grandmother of Margaret Reynolds (1881-1958) of Hertfordshire, England, who herself came into possession of the dress around the early twentieth century. Having no daughters of her own, in 1945 the 64-year-old Margaret sent the dress as a Christmas gift to her niece, Margaret Willoughby Reynolds (1907-1996). In the letter accompanying the parcel, donated to the Society with the dress, the elder Margaret writes that she loves the dress very much but has now outgrown it. She makes reference to her own mother Mary Reynolds (nee Lloyd)'s pleasure at seeing the dress worn, indicating that it may originally have belonged to one of Mary's grandparents. She had two requests of her niece: first, that the younger Margaret wear the dress on Christmas Eve as a treat for her Mary (the letter includes styling advice on how the dress should be worn and accessorised), and second, that she one day pass the dress on to her own daughter or niece. In March 1968, the younger Margaret gifted the dress to her Australian-born niece, Dorothy May England (nee Reynolds, 1924-2013), along with a letter of her own. Dorothy, a Bayside resident, donated the dress and both letters to the Society in 2007. The letters paint a picture of the significance of the dress within the Reynolds family and its journey from England to Australia.A white, mauve, purple, red, and green paisley / floral printed cotton day dress from circa 1820. The day dress features a wide scooped neckline, with a dropped shoulder line. At the head of the sleeve is has three lines of gathering creating a narrow arm hole around the shoulder, flaring out into a leg of mutton sleeve. The sleeve finishes neatly at the wrist with a cuff that secures with two brass hook and eye closures. The dress bodice is open at the centre front and secures with six hook and eye closures to the empire line waist. Over the breast on either side of the opening are six diagonal pleats, pressed and secured facing towards the neck. This pleated detail is on a facing that extends from shoulder to shoulder and finishes with a bound edge. The remainder of the front bodice is plain and secures to the skirt at the empire waistline. The skirt pleats onto a binding, wrapping around the torso and securing to the bodice with eight hook closures. At approximately knee, height the skirt has an additional gathered flounce with the dress finishing at approximately ankle length. From the back, the bodice is plain and the skirt is gathered and sewn to the bodice at Empire line. Alterations to the garment have been made with the addition of hooks and eyes. The garment is generally in good condition although the skirt at the front shows evidence of damage and subsequent repair.day dress, 1820s, migration, dorothy may england, margaret willoughby reynolds, margaret reynolds

This evening dress belonged to Clara Johnstone Miller (nee Bell, 1866-1910). Clara was the only daughter of Mr James Bell, a councillor of the Shire of Leigh (today a part of Golden Plains Shire) and owner of Woolbrook Homestead in Teesdale, near Geelong. In 1888, Clara married prominent businessman, racehorse owner, racing identity and pastoralist Septimus Miller (1854-1925). Septimus was the sixth of seven children born to Henry 'Money' Miller and Eliza Miller (nee Mattinson). 'Money' Miller was a well known financier and politician and reputedly one of Australia's wealthiest people in his time. In 1889, Clara and Septimus moved into the house 'Cantala' in Dandenong Road, Caulfield. They had one child, Gwendoline Stewart Miller, who died in 1902 at the age of thirteen of diabetes - a largely untreatable condition at the time (insulin would not be discovered until 1921). Clara died in 1910, aged only 44. Septimus subsequently married Helen (nee Henderson), with whom he had a son, Ronald (1915-1990). The Millers were buried in the Brighton General Cemetery in a large Gothic-style vault. Upon Clara's death, Septimus sent much of her clothing and Gwendoline's to her mother Mary Bell. Some of these items were passed down to two of Clara's nieces, Miss Mary Bell and Mrs Lois Lillies, who donated them to BHS around 1973.A yellow and lime green silk and net evening dress from c.1909. The bodice is constructed of a golden silk satin with an over bodice of a very soft gold net with soft gold and lime green embroidery decorated with flower and bow motif's. The neckline is bateau like in shape with the edge following the flowers of the lace design. The bodice is sleeveless with a loose detached cap that hangs down over the top of the arm with a lace covering. The under fabric of the bodice is shaped and lightly boned but the over lace is looser, nipping in at the waist where it joins the skirt. At the back, the bodice neckline scoops lower than the front with the lace overlay creating a v shape at the centre back. The bodice is secured with hooks and eyes and waist tapes. The skirt is flat fronted and floor length consisting of the same golden yellow silk with soft gold and lime green embroidered net over skirt. The lace net over skirt features larger motifs and greater embellishment towards the bottom of the skirt. The lace over lay also has an edge that follows the design of the lace rather than a straight edge. At the back the underskirt is flat and shaped but the over skirt is lightly gathered and loose hanging. The skirt finishes in a full skirt and a rounded, small train.woolbrook, septimus miller, cantala, henry 'money' miller, gwendoline miller, clara miller, 1900s fashion, caulfield, brighton general cemetery

This photograph depicts a Royal District Nursing Service (RDNS) Sister (Sr.) visiting Mrs. Hodginson and babe in their home. Sr. Wan is weighing baby Tamara as part of the Post-Natal care she is giving. A nurse who is doing her Hospital training is visiting with the Sister and observing. RDNS had a Domiciliary Infant and Maternal Care, (DIMC) service operating from most Centres which visited early discharged, often 24 hours after birth, maternity cases from hospitals to give Post-natal care to the mother and babe. Sr. Wan is wearing her RDNS summer uniform of a short sleeve white blouse under a royal blue V neck tunic style frock and a dark blue cardigan. In August 1893 Melbourne District Nursing Society (MDNS), commenced a Midwifery Service with Nurse Fowler, who was trained in a hospital in General nursing and Midwifery nursing, being the first Midwife employed. Mothers were assessed for suitability of a home birth or if they required delivery at the Women’s Hospital. The Midwife worked in conjunction with the Doctors at the Women’s Hospital and if a complication arose before or after birth the patient was transferred to their care. Following birth, the Midwife gave Post-Natal care to both the mother and babe commencing with visits twice a day. In 1898 the service ceased due to lack of funds but recommenced in 1906, and in the August 1925 Annual Report the number of MDNS home births was recorded at 478. MDNS built the After-Care Home and a pioneering Anti-Natal Clinic was opened in 1930. The last Ante-Natal clinic was held there in December 1951 and the MDNS Midwifery service ceased in February 1952. In 1964 MDNS commenced a Post-Natal service with General and Midwifery trained MDNS Sisters working from a room on the ground floor at the Footscray Hospital Nurses quarters, and visiting early discharged Footscray Hospital maternity cases at home. Later, as Royal District Nursing Service (RDNS), this service was extended and renamed as Domiciliary Infant and Maternal Care, (DIMC) service operating from most Centres and visiting early discharged, often 24 hours after birth, maternity cases from hospitals to give Post-natal care to the mother and babe. Many of the RDNS Sisters who worked in DIMC also had their Infant Welfare Certificate, though Midwifery trained nurses also visited. On the right of the black and white photograph is Royal District Nursing Service (RDNS) DIMC Sister J. Wan, who has short dark curly hair and is wearing a white gown over her uniform, with the white collar and sleeves of her dark cardigan seen. She is laughing as she holds the top ring of hand held baby scales in her right hand; the bottom of the scale has a metal hook which has a sling attached to it with four cotton 'ropes'. Baby Tamara is supported in the sling which is just resting on a sheep skin and bunny rug covered metal framed change table. Sr. Wan has her left hand on the sling. To the left of the photograph is Tamara's smiling mother, Mrs. Lynda Hodginson, and in the centre of the photograph is observer Nurse Sheehan. Mrs. Hodginson is wearing a striped dress with a V neck, and has dark shoulder length hair. Nurse Sheehan has short dark hair and is wearing a white uniform and dark cardigan. A nursing watch is attached to the right hand side of her uniform. Part of a landscape picture can be seen on the wall behind her. A small white fluffy rabbit sits on the left hand side of the change table. Baby Tamara has sparse dark hair and is sucking on a dummy.Photographer's stampmdns, melbourne district nursing society, melbourne district nursing service, royal district nursing service, rdns, mdns midwifery, rdns domiciliary postnatal service, dimc, tamara hodginson, nurse sheehan, sister j. wan, mrs lynda hodginson

This set of photos is from a leather bound album bearing the inscription "HUME RESERVOIR AUSTRALIA" plus 'The Rt. Hon. L. C. M. S. Amery, P. C., M .P.' all inscribed in gold. It was presented to The Rt. Hon. L. C. M. S. Amery, P. C., M. P, Secretary of State for Dominion Affairs on the occasion of his visit to the Hume Reservoir on 2nd November 1927. This album is of local and national significance as it documents the planning and development of the Hume Reservoir up to 1927. It was the largest water reservoir in the British Empire. The album records the pioneering engineering work that went into its construction.DEPARTMENT OF PUBLIC WORKS, N.S.W. (continued from previous image). have been completed, Locks Nos. 2, 4 and 6, also in South Australia, are under construction. In the description of the Hume Dam the following emendations have to be made. The total length will be 5,300 feet of which 4,258 feet will consist of an earthen embankment. The maximum depth of water conserved will be 24 feet more than originally intended with an additional allowance of 9 feet for surcharge, the total capacity will be 2,000,000 acre feet, the water surface at full supply level 44,000 acres, and provision is being made for a flood discharge of 182,000 cusecs. For handy reference, the main dimensions and figures and comparisons with other dams throughout the world are given in a tabulated statement attached. The Hume Reservoir will be the largest in the British Empire. Photographs showing the work at various stages of construction are appended. The Resident Engineer for New South Wales from the start of the work until his recent promotion to the position of Inspecting Engineer was Mr J. Keith Ross, M.A., B.Sc., A.M.Inst.C.E., who has been succeeded by Mr S.W. Jones, B.E., A.M.Inst.C.E. The Resident Engineer for Victoria is Mr A.W. Johnson, B.E. (Signed) M. Inst.C.E. Chief Engineer New South Wales Constructing Authority 27th October 1927. hume reservoir australia, river murray waters scheme

Steel screw steamer launched 1889 at Newcastle on Tyne by Palmers & Co., built for Archibald Currie and Partners - the Currie Line of Melbourne. Gross tonnage: 2,792, Length: 99.06m (325'). Width: 12.3m (40.3'). Triple expansion steam engines producing 363 nhp. Avge speed 11 knots. Coal consumption 26 ½ tons per 24 hours. Steel hull, one funnel, two masts, barque rig. • 1889: Argus launched. Worked in the Australia to India trade, passengers, goods and horses. • 1891 July: While taking coal from Newcastle to Singapore, ran onto sunken rock in Gaspar Strait (in Indonesia). Watertight bulkheads held, got to Singapore, was repaired for two months, 60,000 Straits dollars (about £12,000). • 1895 July: While taking 400 horses to Colombo, ran onto reef near Somerset, North Queensland. holed, water in two compartments. 400 tons coal jettisoned, finally got off in spring tides. • 1901 Feb: During Boer War took Victorian contingent, 5th Mounted Rifles, fromMelbourne to Durban and Cape Town, with 500 horses. • 1901 Dec: Took horses for Boer War from Brisbane to Durban. • 1903 31 July: Leaving Sydney for Calcutta with 86 horses, 20 passengers including the Sultan of Johore, was rammed by the incoming steamer Mildura (on the wrong side of the channel). Argus's side plating was cut from deck to below waterline, had to be beached on Goat Island to prevent sinking. Refloated 2 August and repaired. • 1905: Argus sold to the Japanese shipping company, Osaka Shosen Kaisha. Renamed Giran Maru. • 1907 11 Sept: Wrecked in Soya Strait, between Hokkaido & Sakhalin Island.Built for Archibald Currie & Partners, Melbourne. Carried passengers between Australia and India and between western and eastern Australia.Large ship builder's model in glass case

Transcription of plaque: Not Just a Pretty Place acknowledges the cultural significance of this site for residnets of the Nillumbik Shire and for the Wurundjeri community. Historically the confluence of rivers have particular importance as these were sites where rituals and ceremonies took place. The carved bluestone form presents an oversize river pebble that echoes the spirit of the water and draws attention to this location as a meeting place and landmark. The oval shape of a coolamun (Wurundjeri dish or basket) is referenced in the sculpture as a reminder of the indigenous heritage and as a gesture to reconciliation Danko describes the work as a contemporary message stick or sign, that can be read as a merker of time, nature and human existance. 2000 Nillumbik Art in Public Places Award. Heritage Excursion - Saturday 1st July - Eltham Lower Park - Walk and Talk Eltham Lower Park has played an important part in the history of our area since the early days of European settlement when it was used by local residents as an informal racecourse. Prior to that its location at the junction of the Diamond Creek and the Yarra River made it an important meeting place for the Wurundjeri people. The park combines formal elements and sporting facilities with remnant bushland that is of environmental significance. It is home to sporting and horse riding clubs, popular play spaces and the Diamond Valley Miniature Railway, which attracts large numbers of visitors. The park will be the venue for our July excursion which will comprise a walk of about 3.5 km around the park and adjacent areas. Along the way we will discuss the history and natural history of the area. The path along the creek and the river provides a pleasant and scenic walk. This walk on Saturday 1st July is about 3.5 km in length and will take 2 to 2.5 hours. It will start at 2pm at the Main Road car park at the front of the park. (Melway ref 21 H 10). From Newsletter No., 234, June 2017 Born Digitalelection day, heritage excursion, activities, eltham district historical society, eltham lower park, not just a pretty place, public art, plaque