This photograph of Prime Minister Hon RJ Hawke’s visit to the Army Survey Regiment was taken at Fortuna, Bendigo in March 1990. This occasion was one of several events held to commemorate the 75th anniversary of the formation of the Royal Australian Survey Corps. The one-hour visit was a rare opportunity for RA Svy to demonstrate to its Prime Minister the unit’s important role as Defence’s map production agency, its technical equipment, and its economic importance to Bendigo. It was also an opportunity to take him through historic Fortuna Villa. This occasion is covered in more detail in page 143 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. Refer to Item 6247.30P for more photos of the Open Day. This photograph of Prime Minister Hon RJ Hawke’s visit to the Army Survey Regiment was taken at Fortuna, Bendigo in March 1990. The colour photograph was printed on photographic paper and is part of the Army Survey Regiment’s Collection. The photograph was scanned at 300 dpi. .1) - Photo, colour, 1990, Prime Minister Hon. R.J. Hawke AC GCL entering the front steps of Fortuna Villa. L to R: unidentified officer, MAJ Duncan Burns, Bob Hawke, John Brumby AO (partially obscured), CO LTCOL Rene van den Tol.There are no annotations.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

This biscuit/tea caddy was probably targeting the "theatre going" family or those who liked looking at the colourful shakespearian scenes. This item however demonstrates that the rural (Kiewa Valley) appreciation of classic English plays was, in this time period (early 1900's), just as strong as in the larger towns and cities. This item also presents the period in which the "olde" Elizabethian phrases and words were taught in regional high schools. Although this speech pattern and phraseology was of a specific time period and going out of fashion when Australia was first settled it was an inherited form of communication(higher social/economical level). In the context of the rural Australia "scene" and in this time frame of the elite "boarding school" generation this item was a visual reinforcement of the education level and position of the family who owned this tin.This item is highly significant because it not only presents the social aspects of early life in the Kiewa Valley but also the variety of educational levels and economical variations of the rural population within the Kiewa Valley. The egalitarian perception of the inhabitants of the Kiewa Valley was still at the infancy of early Australian social interactions. This biscuit /tea container was however a leveling of the socio-economic playing field of the time.This biscuit or tea tin, has besides having an outer lid (hinged), it also has an internal lid(with a circular finger grip). Although the shape is rectangular it has a slight concave bulge at each side of the centre of each of its main frame. It is made of pressed light steel and has a raised floor. The corners are bevelled and the outer lid has a bevelled slope ridge in parallel to the extremities of the main tin frame. There are painted scenes from the following Shakespearian plays on each side of the tin; "As you like it", "Hamlet" and on each of the bevelled corners are the portraits of Shakespeare(in the middle), the caricature mask faces of "the theatre" above and on the bottom section the "Director's chair"food storage, kitchen table container, domestic educational storage, shakespeare illustrations

Design based on the Electric Supply Co of Victoria tokens. Used by the Museum as a fare payment mechanism or system. With the use of coins or banknotes being phased out and replaced by digital means, it is not possible for the traditional fare payment system to be demonstrated by conductors or tram crews. Maintains the mechanism or practice of exchanging a "coin" for a tram ticket. Visitors pay an entry fee at the new Museum and are given a token for each person. When ready for a tram ride, each passenger gives the token to the Conductor or Driver who issues a paper ticket. Tokens are: Green - 1/- Adult, blue - 6d - Child, red - 3d - concession, purple 1d - members and guests, and orange - no value - baby or under 4. Also maintains the traditional system of conductors accounting for tokens (or cash) and the number of tickets issued.Demonstrates a fare payment system that maintains a strong interpretative link to traditional methods for visitors.Set of 5 plastic fare tokens used by the Ballarat Tramway Museum manufactured during 2021. Four of the tokens have a fare value on one side and the Museum's pictogram and name on the rear. Made by CombiCraft Bundall Qld.trams, tramways, ballarat, tokens, fares, tickets, btm

Employment is a key area that blind or vision impaired people are under-represented. These photographs were taken to demonstrate and provide examples of how blind and visually impaired workers can undertake skilled positions as switchboard operators. In the first image, a man wearing a headset sits behind a small switchboard and on the desk is a sign that reads "Please buzz for attention. Our receptionist/telephonist is blind". In a second image, two people sit at a desk. The woman uses a device to locate a key on the switchboard whilst wearing a headset. Beside her a man points to the key and holds a telephone receiver to his ear. In the third image, a seated man reaches forward to find a socket in the switchboard, with an audio jack attached to his finger. Beside the switchboard a man stands and holds his wrist, possibly guiding him.employment, royal victorian institute for the blind

Singer was first established as I. M. Singer & Co. in 1851 by Isaac Merritt Singer with New York lawyer Edward C. Clark. Best known for its sewing machines, it was renamed Singer Manufacturing Company in 1865, then the Singer Company in 1963. The Singer company began to market its machines internationally in 1855 and won first prize at the Paris world's fair that year. They had offices established in both Sydney and Melbourne by the mid-1960s. The company demonstrated the first workable electric sewing machine in 1910. Singer was also a marketing innovator and a pioneer in promoting the use of instalment payment plans, making their machines more affordable for many people. According to its serial number, this machine was manufactured in 1950 and was one of the new models designed to be more portable as it only weighed about 10 KG.This sewing machine is of local, national and international significance as it represents developments in technology and the impact this had upon the work of women.The Singer 99 was a sturdy and reliable machine that was easy to use. Lighter than other machines of its time, this machine weighed only 10 Kgs. It is mounted on a wooden base with a small compartment under the balance wheel to store accessories and bobbins. It has a 'Bentwood' (polished plywood) cover which also provided some room for storage. The machine is driven by a small electric motor and a light to illuminate the work area. It is decorated with gold decals and a filigree pattern. It includes a knee control which is inserted in a hole at the front of the machine. The serial number EG045782 indicates it was manufactured in 1950.Across the top in gold script: "The Singer Manufacturing Co. / Made in Great Britain" On light cover: "SINGER" Plate with specifications also attached. On front of machine in oval badge: A CENTURY OF SEWING SERVICE/ THE SINGER MANFG. CO. 1851 - 1951singer sewing macnine, domestic appliances, women's work, technology

Links to another image in the collection previously unidentified now known as at 2018 to be the children of a seafaring family of Captain and Mrs Aviss. In 1918 the family was re-united with Mrs Aviss' parents after a dangerous journey by sea the first time that the children met their grandparents, Captain and Mrs Frampton also seafarers . Mrs Aviss gave birth to her third child in August 1918 on board the ship. She contracted the "Spanish flu" probably in St John, New Brunswick and died, at the age of 28, on the 3 November 1918 after a week in hospital, leaving her husband with two toddlers and a 3 month old baby. The story demonstrates the respect and support of the Mission for two remarkable families of seafarers and the dangers of the influenza epidemic post WW1.An example of lives and tribulations of a seafarer family who survived the Great War but who also had to deal with the Spanish flu pandemic of 1918-1919.Large engraved brass plaque mounted onto brick wall commemorating wife of sea captain. To the Glory of God / and in memory of Catherine Florence/ the beloved wife of Captain Herbert Aviss/ (Barque Inverneill) who died at St John. N.B./ Nov 3rd 1918.brass, plaque, great war, memorial, commemorate, catherine florence aviss, florence catherine nee frampton, wwi, first world war, barque, inverneill, herbert aviss, st peter the mariner chapel, mission to seafarers, flinders street, 1919, st john, new brunswick, influenza, spanish flu, pandemic, 1918

When the Commonwealth Post and Telegraph Act was passed in June 1902, and a national Postmaster General's Department (the PMG) was established the responsibility for the nation's mail and telephone services fell on Post Offices. The Bendigo Post Office, built in 1887 and continued to deliver communication and postal services until 1997. Ted Rankins was the last Post Master at the Bendigo Post Office and a long term telegraph volunteer post his retirement. Now a Visitor Centre, dedicated volunteers at the Post Office continued to demonstrate and educate the public about the daily workings of the Post Office up until 2019 when Covid 19 disrupted every day life. This sign was issued to Ted during his time working at the Post Office and is part of the postal collection donated by the Rankins family in memory of Ted. Yellow plastic desk plate. Made from one piece of plastic which has been folded to make the 'A' frame shape. Name printed on front.MR. E. RANKINSted rankins collection, bendigo post office, bendigo tourism, city of greater bendigo tourism, post office collection

This photograph was taken on Friday the 27th of August 2004 as part of an event called 'Direct Seeding Expo'. This event was one of many held by the Wooragee Landcare Group in the early 2000s which aimed to educate the local community on certain agricultural and biodiversity conservative techniques. This particular photograph shows attendees at the property of Neil and Anne Nankervis, inspecting sites where direct seeding had been used ten months earlier. Three different direct seeding techniques were demonstrated during the day by several experts in the field. Direct seeding involves the sowing of seeds directly into the soil to achieve germination and establishment. It is an alternative to planting seedlings in a contained nursery plot. This direct method is intended to mimic a more natural process of growth, revegetating larger areas in a more efficient manner.This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group in the early 2000s to educate members of the public on alternative and potentially more efficient methods of planting seedlings. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paperReverse: WAN NA EONA2N2. ANN+ 1 4240 / neil and anne nankervis, wooragee, wooragee landcare group, wooragee landcare, direct seeding expo, direct seeding, seeding, seedlings, direct seeding sites, alternative seeding, alternative seeding method

Taken 1905 by photograph W.D Gibbons the photograph depicts a pathway leading to the administration building of the Beechworth Mental Asylum. There are three well-dressed young men lounging on the grass as another is jumping behind them. This is significant as it demonstrates that the asylum was not a prison and that the mentally ill patients were allowed their freedom. The Beechworth 'Lunatic' Asylum was constructed between 1864 and 1867 to the designs by the Public Works Department (PWD) and was later renamed the Mayday Hills Mental Asylum. The decommissioned asylum was one of the largest psychiatric hospitals in Victoria and consisted of sixty-seven buildings, one thousand two hundred patients and five hundred staff members. At the asylum, active work was considered imperative and workshops were located near the male accommodations and laundries and drying yards near the female accommodation. The administration building itself highlights the architectural and aesthetic significance of the asylum to the State of Victoria. This photograph is historically significant as it demonstrates the architectural and aesthetic significance of the asylum but also the changing approaches to treating mental health. Black and white rectangular photograph printed on matte photographic paper mounted on grey cork Obverse: W.D Gibbon/ Beechworth Reverse: 79.1701beechworth, beechworth lunatic asylum, beechworth mental hospital, mayday hills, mayday hills mental hospital, asylum, administration building, wd gibbon, photograph

This model was used in lectures in the College from the mid 20th century. An ophthalmotrope is a mechanical model constructed to demonstrate the movements of the eyes and the actions of the various muscles which produce them. The first ophthalmotrope was made by Theodore Reute in 1845 and it was he who gave it the name 'ophthalmotrope'. Frans Donders (1818-1889) became interested in eye movements on reading Reute's work, and his subsequent studies were of physiological interest and also provided the basis for principles underlying the correction of squint. Because of the complexity of the actions and counter actions of the eye muscles, ophthalmologists of the 19th century sought a practical solution with the construction of mechanical models. Reute's second model of 1857 was more sophisticated. Its eyeballs contained lenses and the optical system could be moved backwards and forwards to simulate accommodation. Later ophthalmotropes are known by Landolt, Knapp and Snellen.This ophthalmotrope is the one that was used as a teaching aid in the College from the mid 20th century.Brass framed model to illustrate actions of extra-ocular muscles. Two painted wooden globes mounted in brass frame with coloured strings attached to brass weights positioned to show actions of various extra-ocular muscles. Also wooden storage box. Materials: brass, metal, wood, string.optometry, ophthalmology, ophthalmotrope, eye, eye movements, extra ocular muscles, eye muscles, eye teaching

The World Alliance of Reforned Churches had declared the South African Dutch Reformed churches heretical because of their doctrinal advocacy of apartheid. Storey spoke about the situation in South Africa - "Speaking from his non-violence Christian viewpoint, he said that violence was counter-productive. 'When an organisation uses these methods it loses something of its moral case. I understand why people such as the ANC turn to those methods. I will never agree with them.' He saw four main taks for the church in South Africa - to continue to tell the truth in a propagandised society, to continue to bind up the wounds of people who are victims in that society—in this area the church's record is a good one, to demonstrate in its own life an alternative to apartheid, and to try to fashion strategies which would bring about change, in harmony with the teachings of Christ."Storey is shown sitting at a table addressing a meeting.C&N identification.apartheid, storey, peter, south african churches

This work pays homage to Solomon J. Solomon’s Ajax and Cassandra. Andrew Potter’s painting tells of the subsequent event. Cassandra is undoubtedly a Trojan War casualty, symbolizing the personal pain of widows and rape victims. The flow of the fabric is the allegory of bloodshed, while the empty jar suggests displacement of refugees. Cassandra’s body, as mother earth, is a metaphor for the peaceful landscape that is desecrated by acts of war. The artist uses these iconic figures to exemplify and demonstrate why peace is always better than war. This work was awarded second prize in the 2009 Lucato Peace Prize. During that year Andrew Potter was undertaking the first year of a Bachelor of Visual Arts (Fine Arts) at the University of Ballarat’s Arts Academy. This item was runner up in the Lucato Peace Prize, and is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Painted canvas depicting a naked woman lying on the round beside a glass jar.art, artwork, andrew potter, potter, lucato peace prize, mythology, available

This photograph was taken on Friday the 27th of August 2004 as part of an event called 'Direct Seeding Expo'. This event was one of many held by the Wooragee Landcare Group in the early 2000s which aimed to educate the local community on certain agricultural and biodiversity conservative techniques. This particular event took place across three different locations - Wooragee Hall, and direct seeded sites at the properties of Marcus and Lisa O'Connor, and Neil and Anne Nankervis - and, therefore, the exact location where this photograph was taken is unknown. Three different direct seeding techniques were demonstrated during the day by several experts in the field. Direct seeding involves the sowing of seeds directly into the soil to achieve germination and establishment. It is an alternative to planting seedlings in a contained nursery plot. This direct method is intended to mimic a more natural process of growth, revegetating larger areas in a more efficient manner. This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group in the early 2000s to educate members of the public on alternative and potentially more efficient methods of planting seedlings. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paperReverse: WAN NA EOWA2N2 ANN- 1 4240 / neil and anne nankervis, marcus and lisa o'connor, wooragee hall, wooragee landcare, wooragee landcare group, direct seeding expo, direct seeding, seeds, revegetation, alternative planting

Slawa Horowitz-Duldig) was both an artist and a designer, and both aspects of her practice are represented in the collection. There is an archive of approximately 255 drawings by Slawa dating from 1917 until 1922. Slawa’s sketchbooks from this period provide an insight into her early training and demonstrate the artist’s early interest in portraiture. A number of the drawings have been framed, but the majority remains 'in situ'. Slawa was a student at the Viennese Kunstschule für Frauen und Mädchen (the Viennese Art School for Women and Girls) (KFM) from 1917 until 1921, and in 1922 she became a student of Anton Hanak. The KFM School had been established in 1897 as a private school, and it was highly regarded both for its teaching staff and academic curriculum. By 1918 it had introduced stringent admission policy similar to those of the Austrian Academy of Fine Arts, and obtained government funding for its academic program, and began to focus on students seeking to pursue careers as professional artists. In 1921 when Slawa applied to the Austrian Academy of Arts for a place in its program, her application was unsuccessful, as her work was considered advanced, and a place in the third or fourth year of the program was not available. In 1922 she became a private student of Anton Hanak. Many of the portrait images from this early period concentrate on capturing the physical appearance of the face of the model. A number of these studies, in which the subject is not identified, display an academic approach to the genre. Her technical skills in capturing precise facial features of the model, the expression of eyes and the texture of hair are evident. These drawings were perhaps completed in the studio of the KFM School. There are also portraits of friends and family members, including her sister Rella and others, perhaps parents and grandparents, who have yet to be identified conclusively. It is these images of family and friends that particularly demonstrate Slawa’s confidence with pen, charcoal and crayon on paper. Amongst the group are several portraits that indicate the artist’s interest in conveying the inner psyche of a subject, as well as capturing a likeness. Ann Carew 2016The drawings from this period give us an insight into the artist’s early training, and the teaching methods of Viennese Kunstschule für Frauen und Mädchen, one of the first professional art schools for women in Vienna. The drawings and sketchbooks have artistic, interpretative and research significance as records of the art education of women in Vienna in the early 20th century. Ann Carew 2016Charcoal over pencil sketch on paper of Slawa's sister Rella.Artist signature in the bottom left corner.

In this era women of Marianne Gibson's position in society were chaperoned and chauffeured, their role was that of wife and mother, busy in their home. Women did not have the vote and those who worked were servants who lived with families. The Gibson family was well respected in the community and Marianne was the mother of 8 children.The Marianne Gibson Quilt is one of the finest examples of crazy patchwork quilting known to exist globally. It features items from her husband's hardware shop, household objects, oriental designs as well as local fauna and flora and the quality of the needlework is outstanding. It is extremely well preserved and unfaded. For a short film about the Marianne Gibson Quilt, visit Culture Victoria: http://www.cv.vic.gov.au/stories/marianne-gibsons-crazy-patchwork-quilt/11762/marianne-gibsons-crazy-patchwork-quilt/The Marianne Gibson Quilt is owned by the Wangaratta Historical Society and was placed on the Victorian Heritage Register in 2011. Marianne Gibson was born in Ireland and 1863 and married her cousin Alexander McCulla Gibson in 1864 in Wangaratta. The quilt is"...one of the finest examples of a crazy patchwork quilt in the world" (Victorian Heritage Register) and is composed of 9 blocks featuring silks and velvets with a backing of beige silk. The crazy patchwork style popular between 1876 and 1920 encompasses many different patterns that tell stories of that age and uniquely showcases local flora and fauna. Marianne made the quilt between 1891 and 1896. She loved flowers, birds, her garden and especially her family. This is evident in her quilt embroidery and stitching so lovingly demonstrated. Marianne died on 8th March 1911. She left the quilt to her daughters Clara and Edith who gave it to their housekeeper Miss Alma Gard in 1934. When Miss Gard retired to a nursing home in 1985 the quilt was donated to the Wangaratta Historical Society. MG 1891marianne gibson quilt crazy patchwork local fauna flora

B&W photo showing a group of people watching John and Bill Hermon displaying their fuel tanker at Pakenham Show, c.1965. Photo shows a fuel tanker parked on grass. On the passenger side door is written “W.J. HERMON/71 LONSDALE ST./DANDENONG/Phone 2-1709/AGENT FOR/AMOCO/PETROLEUM PRODUCTS”. John Hermon, in shirtsleeves and trousers, is leaning against the truck, watching his father, Bill, similarly dressed and with a tie, demonstrating what appears to be a gauge on the truck. “AMOCO” is painted twice on the truck. Between the two men is a sign on the ground and leaning against the truck. It reads “[illegible] deliveries to your/storage tank/ensures/you get every/drop you pay for”. A group of approximately seven men, two women and a boy about 10yo are watching. The women and two of the men are wearing sunglasses. A tank with “AMOCO” is behind the truck and on the right of the photo, behind the crowd, is a sign which says “AMOCO/Farm Fuels/FINAL/FILTER”

This Indian club comes from an early 20th century Warrnambool Men’s Physical Culture group but it is not certain which one it was. Gymnastics and Physical Culture groups were very popular in Warrnambool at the end of the 19th century and the beginning of the 20th century. They were usually attached to sporting or church groups and had both male and female participants. One important Physical Culture group in Warrnambool was a Sandow group, dedicated to promoting the Sandow philosophies and system of physical exercise. Eugen Sandow was a German who gained fame as a strong man, touring the world demonstrating his feats of strength and promoting his philosophy of health and good living. He toured Australia in 1902 and the result was the formation of many Physical Culture groups promoting the Sandow system. The Warrnambool group was said to be the first Sandow club established in Australia. No information has been found on the name ‘Dicks’ on the base of the club. This Indian club is of interest as a memento of the times in Warrnambool when many gymnastics and physical culture groups were operating. It may be a memento from the Warrnambol Sandow Physical Culture Group. This is a bottle-shaped wooden club with a wooden knob at the top end and three ridges incised into the main section of the club. The wood has been varnished but the surface is now a little rubbed and worn. A name is written on the base in black ink‘……Dicks’ warrnambool physical culture groups, eugen sandow

Christ Church was constructed in 1854-57 and designed in Decorated Gothic style by Albert Purchase & Charles Swyer. It was enlarged in 1874 and 1881 to the designs of Sydney W Smith. It is one of four main buildings constructed on land granted to the Church of England in 1855 and named Church Square. The other buildings are the bishop's residence, vicarage and parish hall. Heritage Victoria describes it as a 'rare and significant square in the history of town planning in Victoria which demonstrates the importance of the church to the community'. It is built from rarely used undressed random coursed sandstone from Point King Sorrento. It is located at 14 Acland Street, St Kilda. The triangular rose window is said to have been modelled on Lichfield Cathedral and shows outstanding craftsmanship. According to Heritage Victoria, the only other known example in Victoria is at St Georges Presbyterian Church in East St Kilda, designed by the same architect, Albert Purchas.colour photograph unmountedrose window, acland street, purchase, swyer, st kilda, christ church

“Yarram Park” Willaura Visited by American Seamen. Gentleman is Mr William Jennings Kinsella. The Great White Fleet was the popular nickname for the group of United States Navy battleships which completed a journey around the globe from December 16, 1907 to February 22, 1909 by order of President Theodore Roosevelt. Its mission was to make friendly courtesy visits to numerous countries while displaying new U.S. naval power to the world. One goal was to deter a threatened war with Japan since tensions were high in 1907. It familiarized the 14,500 officers and men with the logistical and planning needs for extended fleet action far from home. Hulls were painted a stark white, giving the armada its nickname. It consisted of 16 battleships divided into two squadrons, along with various small escorts.[1][2] Roosevelt sought to demonstrate growing American military power and blue-water navy capability.willaura simmons

“Yarram Park” Willaura Hunting Trip with American Seamen. Gentleman at top center back is William Jennings Kinsella. The Great White Fleet was the popular nickname for the group of United States Navy battleships which completed a journey around the globe from December 16, 1907 to February 22, 1909 by order of President Theodore Roosevelt. Its mission was to make friendly courtesy visits to numerous countries while displaying new U.S. naval power to the world. One goal was to deter a threatened war with Japan since tensions were high in 1907. It familiarized the 14,500 officers and men with the logistical and planning needs for extended fleet action far from home. Hulls were painted a stark white, giving the armada its nickname. It consisted of 16 battleships divided into two squadrons, along with various small escorts.[1][2] Roosevelt sought to demonstrate growing American military power and blue-water navy capability.willaura simmons

Articles in annual report include: list of office bearers of the institute and officers of the institute, Introduction and summary, Residence nursery and school for blind children, Programme in rehabilitation, Blind welfare - Mr W Casey retired as welfare officer in December 1964 after a 40 year association, Institute busy factory - faced by serious competition from overseas the basket shop closed, No sugar packaging done since 1963, Employment of blind people, Splendid support from auxiliary, The future, Income and expenditure, Where there's a will there's a way. Events that occurred in 1964 : HRH Duchess of Gloucester visited residential nursery and school, four hundred members of auxiliary lined driveway to greet her, helped by nationwide drive of the Apex clubs this year more blind people are reading talking books, this year a specific department staffed full time was set to demonstrate aids and equipment for blind people.1 volume of text and illustrationsannual reports, royal victorian institute for the blind

The battery powered set, which dates from the second half of the twentieth century, comprises two main components, the electronic keyer with a single lever for tapping, and a transmitter (?), both connected by a keying cable. Morse code was invented in the 1830s by American, Samuel Finely Breese by using electrical signals to quickly transmit information over a long range. In the early 1890s Italian inventor, Guglielmo Marconi improved the technology to the point where it became an essential device used for commercial and government purposes. The first practical applications were demonstrated with maritime messaging, where this simple mode of communication was seen as a timely replacement for the historic practice of signaling by flags, lights and foghorns. Cape Schanck has an earlier Morse code key, which is original to the lightstation (CSLS 0035), and Cape Otway has another early example although its provenance to the lightstation has not been formally verified (COLS 0074). The Morse code set has first level contributory significance for its historical value as an earlier communications device that has since been made redundant by more sophisticated technologies.Morse code key set. Comprised of the tapping component and a metal box part with a white electrical cord.Yes

There are three, black Bakelite, wall mounted, crank handle telephones across the lightstation; one in the former assistant keeper’s quarters, and two in the former head keeper’s quarters. The phone has instructions for its use on the crank dial. Two have a coiled handset cord, which dates the phone to just after 1949 when these came into use. The third has a smooth cord and must pre date 1949. Another much older wall mounted phone remains in the lighthouse. The four telephones at Gabo Island formed an intercom system that facilitated communication between the lighthouse and lightstation buildings. They demonstrate the necessity for employing various methods of communication in a remotely located lighthouse as well as communication between the lightstation buildings. Telephones of the same wall mounted, crank dial type remain at Cape Otway, Point Hicks. As fixtures, the telephones belong to the building fabric and are included in the existing listing of the Gabo Island Lightstation in the Victorian Heritage Register (H1773). These intact items of equipment have first level contributory significance for their historic value and provenance.Black bakelite telephone, wall mounted with reciever/ handset on spiral cord attached to the body of the phone. There is a crank handle attached to the front of the telephone.On dial under crank handle. Outer perimeter of circular LABEL,"TO CALL:-TURN HANDLE & LIFT HANDSET / WHEN FINISHED PEPLACE HANDSET & TURN HANDLE"

Undated but stapled to a further copy of 00130 which was dated 'Xmas 1932'. Pages headed 'Camp Savige, Monday' indicate that it was created for a camp at Stan Savige's property. It recounts the cricket competition between the Dark Blues, Light Blues, Green and Orange teams. Written and illustrated by Pat Hanna in a satirical style it was clearly intended to entertain as much as to inform, but the humour would be seen to be heavy handed or not funny at all today. Nevertheless it demonstrates that campers enjoyed their stay at Somers. See also 01290 and 01291. In the early years, Legacy organised outings to the property of Legacy founder, Legatee Stan Savige, who had a place in Balnarring close to the beach. Permanent camp buildings were built in 1930. In 1930 Lord Somers (Governor of Victoria) also started a camp at a nearby property and the area was renamed Somers. Legacy Somers Camps continued intermittently at Stan's property until it was decided in 1951 to make other arrangements for holidays.Illustrates the sort of activities considered appropriate to occupy camp participants, and the amateur enthusiasm of the newsletter producers in the early half of the twentieth century.3 typed foolscap sheets black on cream, pencilled corrections and linesLegacy symbol hand drawn in pencilnewsletter, savige property, legacy somers camp, camps

Dated 'Xmas 1932'. Pages headed 'Camp Savige, Tuesday' indicate that it was created for a camp at Stan Savige's property. It recounts the cricket competition between the Dark Blues, Light Blues, Green and Orange teams. Written and illustrated by Pat Hanna in a satirical style it was clearly intended to entertain as much as to inform, but the humour would be seen to be heavy handed or not funny at all today. Nevertheless it demonstrates that campers enjoyed their stay at Somers. See also 01289 and 01291. In the early years, Legacy organised outings to the property of Legacy founder, Legatee Stan Savige, who had a place in Balnarring close to the beach. Permanent camp buildings were built in 1930. In 1930 Lord Somers (Governor of Victoria) also started a camp at a nearby property and the area was renamed Somers. Legacy Somers Camps continued intermittently at Stan's property until it was decided in 1951 to make other arrangements for holidays.Illustrates the sort of activities considered appropriate to occupy camp participants, and the amateur enthusiasm of the newsletter producers in the early half of the twentieth century.Foolscap sheets x 3 pages, black on cream, penciled drawings, corrections and linesLegacy symbol hand drawn in pencil. Penciled 'please return ARB'newsletter, camp savige, legacy somers camp, savige property

Undated but stapled to a further copy of 00130 which was dated 'Xmas 1932'. Pages headed 'Camp Savige, Wednesday' indicate that it was created for a camp at Stan Savige's property, recounting the cricket competition between the Dark Blues, Light Blues, Green and Orange teams. Written and illustrated by Pat Hanna in a satirical style it was clearly intended to entertain as much as to inform, but the humour would be seen to be heavy handed or not funny at all today. Nevertheless it demonstrates that campers enjoyed their stay. See also 01290 and 01289. In the early years, Legacy organised outings to the property of Legacy founder, Legatee Stan Savige, who had a place in Balnarring close to the beach. Permanent camp buildings were built in 1930. In 1930 Lord Somers (Governor of Victoria) also started a camp at a nearby property and the area was renamed Somers. Legacy Somers Camps continued intermittently at Stan's property until it was decided in 1951 to make other arrangements for holidays.Illustrates the sort of activities considered appropriate to occupy camp participants, and the amateur enthusiasm of the newsletter producers in the early half of the twentieth century.2 typed foolscap sheets black on cream, pencilled correction newsletter, legacy somers camp, savige property, camps

These 17 photographs of the Army Survey Regiment’s map production and facilities were taken at Fortuna Villa, Bendigo, April 1986. Photos .1P to .3P were taken in Cartographic Squadron’s Correcting Section in the Attic. located on the top floor of Fortuna Photos .4P to .5P were taken in Cartographic Squadron’s Proving Section, located in the Ballroom also on the top floor facing the lake. The technicians were probably involved in a rapid response map production, as they all were wearing field uniforms. As ‘Regiment Overcrowding’ is annotated on the plastic sleeve holding the negatives, it seems the photos were taken when the unit was at its capacity to demonstrate the lack of suitable work areas. The Army Survey Regiment’s Duty Room, RAP and Carpark appearing in Photo .10P was probably taken from the top steps near the SGT’s accommodation block. Two of the photos in this set are also published in item 6096.5P.This is a set of 17 photograph of Map Production and car park was taken at the Army Survey Regiment, Fortuna, Bendigo, in April 1986. The black & white photographs are on 35mm negative film and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 96 dpi. .1) - Photo, black & white, 1986. Correcting Section, Attic: L to R: CPL Andy Lucas, SPR Chris Gordon, unidentified, SPR Jan (Crighton) Minchin, CPL Robin Marshall, CPL Frank Downie, SPR Gayle Humphrey, unidentified (x2), Jason Wells at rear. .2) - Photo, black & white, 1986. Correcting Section, Attic: L to R: CPL Andy Lucas, SPR Chris Gordon, unidentified, SPR Jan (Crighton) Minchin, CPL Robin Marshall, CPL Frank Downie, SPR Gayle Humphrey, unidentified, Jason Wells, unidentified. .3) - Photo, black & white, 1986. Correcting Section, Attic: L to R: CPL Andy Lucas, CPL Robin Marshall, SPR Chris Gordon, unidentified, CPL Frank Downie, SPR Gayle Humphrey, unidentified, SPR Jan (Crighton) Minchin at rear., Jason Wells on phone. .4) & .5) - Photo, black & white, 1986. Proving Section, Ballroom: On left front to back: SGT Alan Staley, SGT Roger Rees, SGT Greg Anderson. On right front to back: SGT Denis McCarthy, SGT Tim Allanson, SSGT Adrian ‘Charlie’ Creedy. .6) - Photo, black & white, 1986. Records & Proofing buildings. .7) - Photo, black & white, 1986. Technical Services temporary buildings. .8) - Photo, black & white, 1986. Q-store and transport buildings. .9) - Photo, black & white, 1986. Technical Services temporary buildings in front of transport compound. .10) - Photo, black & white, 1986. Army Survey Regiment Duty Room, RAP and Carpark at Fortuna. .11) - Photo, black & white, 1986. Records & Proofing buildings. .12) - Photo, black & white, 1986. Other Ranks (OR’s) car park and barracks with kitchen in background. .13) - Photo, black & white, 1986. Other Ranks kitchen, parade ground and SGT’s/Officers barracks in background. .14) - Photo, black & white, 1986. Fortuna Villa taken from the steps near the SGT’s accommodation block. .15) - Photo, black & white, 1986. Fortuna Villa taken from the steps near the OR’s s accommodation block. .16) - Photo, black & white, 1986. Fortuna Villa taken from the roadway near the OR’s accommodation block. .17) - Photo, black & white, 1986. 20’ x 30’ Army tents set up on the basketball court..1P to .17P – ‘Regiment Overcrowding’ and the date are annotated on the plastic sleeve.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

When the Commonwealth Post and Telegraph Act was passed in June 1902, and a national Postmaster General's Department (the PMG) was established the responsibility for the nation's mail and telephone services fell on Post Offices. The Bendigo Post Office, built in 1887 and situated on Pall Mall was the central distribution centre for receiving and delivering telegrams and continued to deliver communication and postal services until 1997. Now a Visitor Centre, dedicated volunteers at the Post Office continued to demonstrate and educate the public about the daily workings of the Post Office up until 2019 when Covid 19 disrupted every day life and Ted Rankins, the last Post Master and a long term telegraph volunteer at the Post Office, died. Manuals were issued to postmen to guide them in the delivery of letters and parcels and were small enough to be carried with them. This manual was used by the Bendigo Post Office postmen and is part of the postal collection donated by the Rankins family in memory of Ted Rankins,. Small, creamed coloured cloth covered manual. Contains forty four printed pages and two blank end pages covering all aspects of how to correctly deliver the post. Topics include 'Behaviour', 'Deceased Persons' and 'Bicycles' amongst many others. Book is bound and contains many extra additional paragraphs stuck in on appropriate pages noting changes and amendments. Additional amendments in handwritten red pen also occur on pages 28, 29 and 36.Front cover; Postmen's Manual / Australian Post Office Various annotations and updates throughout. ted rankins collection, bendigo post office, bendigo tourism, city of greater bendigo tourism, post office collection

This photograph was taken on the 27th of August 2004 as a part of the Direct Seeding Expo held at Wooragee Hall. The event aimed to educate attendees about the methods and benefits of direct seeding. Direct seeding is a technique used to sow seeds into the ground to achieve germination and establishment so that crops can grow. The photo shows attendees of the event gathered around James Scholfield (who is not pictured) as he discusses and demonstrates methods of direct seeding like mouldboard ploughing and hand broadcasting a mixture of seed and river sand. James Scholfield has been a farmer and Greening Australia Project Officer for over 8 years and has significant experience with direct seeding, which is why he was chosen to attend this event in Wooragee. Two people have been identified in this photograph. Marcus O'Connor (left) is the property owner the workshop was held on and Robin Warner (third from the left) was the then president of Wooragee Landcare Group.This photograph exemplifies the educational events Wooragee Landcare Group hosted in order to inform the public about new methods or techniques about seed sowing that they did not already know. The photo holds significance to the people of Wooragee and the surrounding localities due to the informative nature of these events which may have aided them when working in their own farms or properties.Landscape coloured photograph printed on gloss paperReverse: WAN NA E0NA2N2 NNN+ 3 4240 / [PRINTED] (No.12) / 365wooragee, wooragee hall, wooragee landcare, wooragee landcare group, direct seeding, germination, seeds, james scholfield, crops, ploughing, mouldboard ploughing, hand broadcasting, greening australia project

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a long drop toliet at the Catholic Church, Sandon, Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon