This photograph is taken in the lady's home, and the Medical Student and Royal District Nursing Service (RDNS) Sister are supervising the lady walking with two 4 prong sticks.From the founding of the Melbourne District Nursing Society (MDNS) in 1885, known as Royal District Nursing Service (RDNS) from 1966, the rehabilitation of patients to ensure they were able to live independently in their own homes was at the forefront of care given by their Trained Nurses (Sisters). As well as teaching and supervising the use of equipment, their Sisters taught them safe transfer techniques. These techniques were also taught to family members to enable them to care for their loved ones. RDNS at first held workshops given by a contracted private Physiotherapist before employing their own Physiotherapist in 1975 who taught staff the correct techniques, not only for safety of the patient, but to reduce physical strain on RDNS nursing staff and patient’s family members. When required the Physiotherapist accompanied the Sister on her visit to the patient in their home.On the left of this black and white photograph is the rear view of a Medical Student who is standing side-on looking towards the right, and smiling at an elderly lady. He has short dark curly hair and is wearing a white hospital style coat, which has a stethoscope folded in the pocket, over grey trousers. His right hand is resting on top of the lady's right hand which is on the top of a metal 4 prong stick. The lady, who is wearing glasses and has short wavy grey hair, is standing holding the tops of the metal 4 prong sticks which are standing either side of her on the grey carpet. She is smiling at the doctor. She is wearing a black skirt and a black sleeveless jacket over a black and white patterned blouse, and is wearing black shoes with her left shoe raised with a deep sole and heel. To her right, standing side-on facing her, is a Royal District Nursing Service (RDNS) Sister who has her long dark hair drawn back. She is wearing a white short sleeve gown and her right hand is behind the lady; her left hand is on the lady's right hand on top of the 4 prong stick. In the left background is a vinyl style grey couch and on the right is a window with open Venetian blinds and open long dark curtains on either side. An air-conditioner sits in the lower section of the window.Barry Sutton Quote 25royal district nursing service, rdns, rdns rehabilitation

Black & White Photographs Series of 10 depicting life for the Hill Family in 1919, young lady standing near large tree wearing a white dress with black waist sash and dark stockings rear background shows the gable roof and 4 chimneys all behind a large hedge, Durvol December 14 1919 In garden setting man on left wearing grey trousers and what appears to be a bag attached via a string to his waist, grey waistcoat white shirt and dark tie, other gentleman is wearing a dark suit white shirt and dark tie,background shows a hedge and tops of trees, a gable roofed building looms above hedge to centre right, Durvol December 14 1919. Dark photo shows a young lady sitting at the top of a trellis fence, she is wearing dark clothing, her blouse has a white collar, hat with bow above her right shoulder, background shows the tops of two trees, Durvol August 1919. 1 man dressed in dark suit and hat, one boy sitting on the seat, both boys are wearing dark clothing and the boy standing is also wearing long dark socks and boots, the large two wheeled carriage, to the right is a gable roofed shed and top right background a large tree branch, Durvol August 3 1919. 3 ladies seated on the ground first lady on left wears a large brimmed hat with light coloured clothing, other 2 ladies are wearing white blouses and dark skirts each with a light coloured hats. 3 men 2 facing the camera and the other facing to the rear, the front 2 are wearing grey trousers and waistcoats man on right has dark tie and smoking a pipe, man facing the rear wears a hat and grey suit, gable roof of a building is in the background November 29 1919. Group of men and women enjoying a picnic two of the men are seated and both wear dark hats and dark suits with white shirts and dark ties, all of the ladies are wearing hats white blouses, one a light coloured skirt and other 2 dark skirts, bush setting with hill in background, Hibernian Picnic 1919. Four wheeled carriage drawn by one dark horse, the two passengers are dressed in dark suits and hats, a whip is mounted in the front foot well, right background is a standing lady dressed in a white blouse and dark skirt, also tree in left background, 25 July 1924. Group of ladies seated two wearing light coloured hats and all wearing white blouses four are in dark skirts, background is wooded area right background is a post and rail fence, Hibernian Picnic 1919. Old vehicle with five passengers, two ladies in the front one driving and a man and two more ladies in the rear seat, all are wearing dark clothing, gabled roof house in background with white picket fence, left background shows another gable roofed building two chimneys dark appearance.Hilda Hill Personal Collectionaustralia, history, post war life

Anlaby’s sheep are born, bred and shorn at their farm located in South Australia. The wool is then scoured at Michels in Adelaide, combed and turned into Tops at Cashmere Connections in Bacchus Marsh, and then Spun and Woven at a historic mill in Scotland named Johnstons of Elgin. Sewing is completed by artisan seamstresses and packaging is from a local Adelaide family business. Established in 1839 just North of the Barossa Valley in South Australia, Anlaby is the oldest continuing merino sheep stud on mainland Australia. Fredrick Dutton employed Alexander Buchannan to bring sheep to the buoyant market in Adelaide from Goulburn NSW. Several others speculated on possible successes, including Buchannan and a flock of 18,000 sheep were walked overland. The trek took nine months. During this time the Adelaide market prices had collapsed. Having found land with a spring of sweet water, Dutton decided to keep his flock of 5,000 stud sheep and purchased a small parcel of land that is now called Anlaby. The property prospered and Buchannan was employed as manager for the next 25 years. At its height Anlaby covered 250sq miles – 160,000 acres and employed 70 men. The first bale of wool from South Australia to be auctioned in London came from Anlaby. The Anlaby stud also provided the foundation ewes for the well-known Bungaree merino stud in 1841. With prosperity came a large house and gardens for Buchannan in 1861. Anlaby was inherited by Henry Dutton from his uncle in 1895. Squire Dutton, as he was known, continued to grow the family’s fortunes and spent his money expanding the grand home and creating a magnificent 10-acre garden. Today the Anlaby merino stud continues and both the house and garden are undergoing significant restorations. Wool continues to be one of the most important elements at Anlaby. It was the source of great wealth in the past and is now directly tied into Anlaby’s future. Anlaby makes beautiful woollen scarves, lady’s wraps, exquisite throws and small range of baby blankets. From the moment a lamb is conceived and through its entire lifecycle Anlaby look after nutrition and quality of life. Twice a year the sheep are shorn and the wool using minimal treatment is washed, combed, spun and woven into the Anlaby product range. This attention to detail results in the buttery softness distinctive of the exclusive woollen range.Throw came with packaging and information card which reads ANLABY in large capital lettering at the top and bottom of either side of card. Throw is white with green edging of 15cm on two edges. Within this edging is the sewing of a tree in white.Wording: ANLABY Pure Anlaby Merino Wool Oldest merino stud on mainland Australia Made in Australia Card. Wording: ANLABY Certificate of Authentication THIS CERTIFICATE AUTHENTICATES THE PRODUCT TO BE 100% AUSTRALIAN AND MADE FROM PURE MERINO WOOL PRODUCED EXCLUSIVELY AT THE ANLABY MERINO STUD IN SOUTH AUSTRALIA THE ANLABY FLOCK (REGISTERED NUMBER 102) IS THE OLDEST CONTINUOSLY OPERATING MERINO STUD IN MAINLAND AUSTRALIA. THE MERINO FLOCK AT ANLABY MAINTAINS A GENETIC LINE STARTED IN 1839 THIS PRODUCT IS PART OF THE LIMMITED EDITION RANGE PRODUCED AT ANLABY. IN 2014 WE CELEBRATED ANLABY’S 175TH ANNIVERSAY ANLABY Reverse. Wording: ANLABY PURE NATURAL WOOL THE SHEEP GRAZE AMONGST THE GUM TREES ON THE ROLLING HILLS OF ANLABY. ANLABY SHEEP ARE CHARACTERISTICALLY BIG BODDIED AND BRED TO FLOURISH IN THE WARM AUSTRALIAN CLIMATE. OUR WOOL IS MINIMALLY TREATED AND THE PRODUCTS ARE MADE IN SMALL RUNS UNDER THE PERSONAL SUPERVISION OF THE OWNERS. WE BELIEVE IN SUSTAINABLE AND RESPONSIBLE FARMING AND MILLING PRACTICES. THE ATTENTION TO DETAIL RESULTS IN THE BUTTERY SOFTNESS DISTINCTIVE OF THIS EXCLUSIVE WOOLLEN PRODUCT. WITH CARE THIS IS A TREASURED ITEM FOR THE NEXT GENERATION. ANLABY www.anlaby.com.auwool, merino sheep, south australia, wool processing, wool processing textile finishing

The Merle Bush Trefoil Guild was registered in Bendigo on 18/06/1981.The decision to disband the Merle Bush Trefoil Guild was made at a General Meeting on 17/02/2016. The group agreed to continue as the Merle Bush Friendship Group. The Australian Trefoil Guilds connect women who are either actively involved in Girl Guiding or have a history with Girl Guiding. The purpose of a Trefoil Guild is to keep alive the spirit of the Promise and Law, carry this spirit into the community and to give support Guiding.Blue vinyl covered four ring binder containing photographs of activities of the Merle Bush Trefoil Guild. The photographs are mounted (glued) on to buff coloured card from manilla folders cut in half. 61 pp with hand written numbers in top RH corner. Pages 25 and 26 Missing. The first page has an "Appreciation Certificate Awarded to the Merle Bush Trefoil Guild for Participation in Project Branchout. Presented by The Girl Guides association of Victoria. Date 25-7-87. The pages have handwritten annotations of names of people in the photographs. Includes Region Conference East Loddon 25/08/89, 7th National Gathering Stawell Tops 1985, 8th National gathering Monash university 1988 Tour of Government House Day 16th December 1989 Brittania Park labour Day Weekend 1990 A.G.M. 5th May 1990 Region Reunion Day Cohuna 19th August 1990 RR Day North Central Region 10th A.G.M. 4th May 1991 Reaffirmation of Promise 2/7/91 Gwen Derby and Fay Osborn The Chalet, Brittania Park, March Long weekend 1992 24 Hour Gathering Bendigo 15/16 October 1997 Benalla Rose Gardens 16 May 2001 Social BBQ Christmas 2001 Melbourne Cup day 1999 24 Hour Gathering Oct 1999 24 Hour Gathering Stawell 2001 24 Hour Gathering Phillip Island 2003 25th Anniversary 2006 Long Service Awards 15 Oct 2006 100 years of Guiding Christmas 2011girl guides, guiding, merle bush, trefoil guild

Hilda Hill Collection. Black and White Photos Total of 7 in subset, 3 containing images of Victorian Coastline in particular Pt Lonsdale and Queenscliff in 1921. Another has a family group on a property owned in Kyneton Victoria known as 'Durvol' in October 1920. Ken wearing a grey suit and sitting on a large stone in the garden stargazing, to his left is a short section of a picket fence and ornate corner post, large trees in the background. Four ladies standing on the rock as the seaside, Doreen, Nora, Lila, and Rita, all dressed in white, the second and third are carrying darker coloured coats on their arms, Queenscliff 1921.Leonie dressed in white and holding a black hat with both hands, background shows trellis and weather boards, left foreground may be heap of cut wood. Frank is sitting on steps dressed in white shirt, dark waistcoat, and dark trousers, background is brick wall and handrail attached to the steps. Four ladies in four wheel tourist coach owned by J. L. Priddle, the two at the front are both wearing white, lady to the left also is wearing a dark coat and scarf, the ladies at the rear are both wearing dark tops and the lady on the outer is wearing a white dress. The background appears to be covered on shrubbery. Four ladies sitting on the rocks at Queenscliff February 1921, Three of the ladies are dressed in white, one in a darker colour, all are wearing hats of similar design either black or white. Pone man dressed in a black suit with a white shirt and black tie, the three ladies are all wearing white blouses and darker dresses, the child at the front is dressed entirely in white, Merry??? Durvol October 1920.Hilda Hill Persdonal Collectionaustralia, history, port londsdale & queenscliff, hilda hill ? realted to frank a hill, stock and station agent and hill family real estate. family owned property out at eppalock. could this be where 'the ranch' property was located?

Phenyle has been used for decades as a cleaner and disinfectant. It is well know for its use for cleaning outdoor toilets and easily identified by its strong odour. The brown glass bottle is immediately recognised as containing a poison. We've all seen them in a hundred different mystery movie scenes. The medicine cabinet opens and there, sitting on a shelf, is the incriminating object -- the ominous dark bottle with the skull and crossbones on the label. In off-screen reality, however, poison bottles have quite a different identity -- they are distinctive, varied, colorful -- and definitely collectible. Obviously, the one thing that sets the poison bottle apart from all other bottles is the need for prominent and immediate identification as a receptacle for toxic material, and this was achieved in a number of ways, including shape, color, embossing and labeling. Poisons were commonly found in the home for the purpose of controlling rodents and other pests, and were sold by grocers and druggists. For consumer protection, as far back as 1829, New York State made mandatory the marking of the bottles with the word "poison" in large letters. Then, in the middle of the 19th century, the American Pharmaceutical Association recommended legislation regarding identification of all poison bottles. In 1872 the American Medical Association also made recommendations -- namely that poison bottles be made of colored glass, and also have a rough surface on one side -- making them identifiable even in the dark -- and the word "poison" visible on the other (the skull and crossbones wasn't quite as ubiquitous as those movies led us to believe). However, passing these laws was not easy, and the manufacturers were essentially left to do as they wished. For collectors, the high point of poison bottle manufacturing was the period ranging roughly from the 1870s to the 1930s. At that time some, of the bottles were distinguished by particularly bright colors, such as cobalt blue (the most common) and emerald green. Others, particularly rare and collectible, had unusual -- and appropriate -- shapes, including skulls, leg bones and coffins. In order to better identify these lethal vessels by feel (not forgetting that there were many people in this period who could not read) when groping for them in the dark, they had such elaborate tactile patterns as quilted diamonds, lattices, hobnails and prominent vertical or horizontal ribbing, as well as spiky knobs and ridges. In addition, many had sharp points on top for the same precautionary purpose. Further efforts to distinguish poison bottles from others included uncommon multisided and triangular shapes, and unusual, hard-to-open tops, the predecessors of the modern child-proof openings. https://www.southcoasttoday.com/story/lifestyle/2001/08/19/poison-bottles-steeped-in-history/50352280007/The recognition and awareness of bottles containing poisonpous substances is extremely important for safety reasons.Bottle, brown glass, diamond shaped. "Bright Star" phenyle. Paper label attached, but peeling off and badly damaged. Corked with contents. Text moulded into glass, some with a border of stars. Poisonous contents, not to be taken. Registered Number 2140. Volume is 20 fluid ounces. Printed label "Bright Star". Text is moulded in the glass in raised lettering: "PHENYLE" outlined and decorated with star border. "POISONOUS", "NOT TO BE TAKEN" "V / DM / A" within oval, "REGD NO. 2140" (D and O are smaller and underlined) . Base is marked "F190".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bright star, phenyl, cleaning and disinfecting chemical, poison, bottles

This set of glossy black and white photographs is a set of images of Glenample Homestead circa late 1960s to early 1970s. They were taken by John Chance and are part of the John Chance Collection. The Colonial Georgian style Glenample Homestead was built from 1866 to 1869 from locally quarried sandstone. In is built on the top of a hill amongst trees. There are paddocks below and around the building. The building is basically a rectangular shape with a recessed room on the right side of the front. The pitched roof is covered in corrugated iron. The veranda, added in 1886, also has a corrugated iron room and is supported by square posts with decorative tops. It shelters three sides of the building. The edge of the veranda is decorated with scalloped shapes along the front and left side of the building. On the right is a brick wall incorporating a chimney. Another chimney on the left is contained within the building. The four-panelled outside doors are visible in some of the photos, as are the 12-paned glass windows, which are framed in contrasting stone. The veranda is trimmed with scalloped metal work on two sides and had some enclosed corners. There appears to be a cubical water tank on the roof line. Out-buildings include a toilet built against the house's brick wall. Another building appears to have two rooms with outside doors, perhaps for workers. There is the remains of a two-wheeled cart under a shelter. GLENAMPLE & the LOCH ARD Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Glenample Homestead is on the Great Ocean Road at Princetown. Originally the land was part of Kennan’s Station lease, one of the district’s early settlements, circa 1847. James Murray bought Kerman’s land in 1856-57, combined it with nearby land, and named it Glenample Homestead. The ruins of huts Murray built on the property were still there until recently. Glenample was sold in 1866 to the partnership of Gibson and McArthur, who built a Georgian style house there using local sandstone, completing it by 1869. On 1st June 1878 the Loch Ard was wrecked at what is now called Loch Ard Gorge. Apprentice crewman Tom Pearce and eighteen year old passenger Eva Carmichael were the only survivors. Pearce had brought Eva ashore and sheltered her in a cave, reviving her with whiskey found amongst items washed up from the wreck. He climbed the cliffs and came across two riders from Glenample. No other survivors were found and sadly, Eva’s family members were amongst those who drowned. Hugh and Lavinia Gibson cared for Pearce and Eva at Glenample and extended their hospitality to Eva, who stayed on for about six weeks as she recovered from the ordeal physically and emotionally. Mrs Gibson introduced Eva to Jane Shields and the young ladies became lifelong friends. Years after Eva had returned to England, Jane’s daughter visited her. Eva handed her a blue china tea set to pass onto her mother as a gift. A descendant of Jane’s donated part of the tea set to Flagstaff Hill Maritime Village while another descendant donated her inherited share of the tea set to the Warrnambool and District Historical Society. In 1886 Glenample Homestead was updated to include a veranda on three sides. In 1887 Gibson sold his share to partner Peter McArthur. McArthur’s son Ernest inherited the property in 1897. Ernest established the Glenample Cheese Factory in around 1911. It was closed due to the World War and reopened in 1929 by McArthur’s sons, Robert and Colin, when they took control. In 1945 they sold Glenample and several owners followed but it was left unoccupied and became dilapidated. It was during this time that John Chance visited the property and photographed the buildings. In the 1980s the National Parks Service acquired the Glenample Homestead and began a restoration program. Work began in 1989 by Cathedral Stone, which was established in 1989 by James Charlwood, a specialist stonemason and son of maritime author Don Charlwood. This set of photographs are significant as a record of Glenample Homestead as it was from around the late 1860s to the late 1960s. The photographs are also significant as they were taken by John Chance, a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The photographs are significant as a link between Glenample, the vessel Loch Ard, and the only survivors of the Loch Ard. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). The set of ten rectangular black and white photographs of the Glenample Homestead, taken in the late 1960s or early 1970s, give san overview of the Glenample property. The views include the front, back and one side of the building, three outbuildings, and the situation of the homestead on the property. The details on the photographs show the materials used and the Colonial Georgian style. The photographs are also a record of the deterioration of the property over the years it was unoccupied.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, kennans station, glenample homestead, georgian homestead, loch ard, princetown, victoria, james murray, hugh hamilton gibson, lavinia gibson, jane shields, eva carmichael, tom pearce, blue china tea set, peter mcarthur, ernest mcarthur, robert mcarthur, colin mcarthur, glenample cheese factory, cathedral stone, don charlwood, james charlwood, antique door key, glenample photographs, john chance, victorian heritage database 392

Small yellow booklet outline of a man on left of title and woman on right. Bush Music Club Inc. Colonial Subscription Ball 1991 Dancers Companion (A guide to the Quadrilles) The Quadrille Figure 1 (Le Pantelon) (2x32) 8 Top couples R and L through. (without giving hands). 8 Set & turn Partners 8 Top ladies chain. 4 Top couples promenade across set. 4 Half R and L to place. 32 Side couples repeat Figure 2 (Le 'Ete) (4x24) 4 Top couples advance & retire. 4 Cross over (without changing places with partner). 8 Repeat back to place. 8 Set & turn partners. 24 Sides repeat. 48 Top and Sides repeat. Figure 3 (La Poule) (4x32) 4 Lady 1, Man 2 adv, tough RH, retire to opposite place. 4 Lady 1, Man 2 adv, join LH give RH to partner 4 Line of 4 balance fwd & back twice. 4 Men lead partners to opp. Place. 4 Lady 1, Man 2 adv. & ret. 4 Lady 1, Man 2 adv, honour & ret. 4 Top couples, advance & retire. 4 Half R & L to place. 32 Repeat with Lady 2, Man !. 32 Repeat with Lady 3, Man 4. 32 Repeat with Lady 4, Man 3. The Quadrille Figure 4. (La Pastourelle) (4x32) 4 1st couple advance & retire. 4 1st couple adv, lady join 2nd couple. 4 Line of 3 adv. & ret, 1st man retire. 4 Line of 3 adv. Ladies cross to 1st man. 4 Line of 3 adv. & ret, 2nd man retire. 4 Re-advance, form circle with 2nd man. 4 Circle L half way round. 4 Half R & L to place. 32 Repeat with 2nd couple leading. 32 Repeat with 3rd couple leading. 32 Repeat with 4th couple leading. Figure 5 (La Finale) (4 x 32 + 8) 4 All advance & retire. 4 Turn partners. 4 Ladies adv, curtsey & retire. 4 Men advance, bow & retire. 8 All set & turn corners. 8 Promenade with corner. (men to original place with corner) 96 Repeat 3 times to return to partner. 4 All advance & retire. Turn Partners. Notes: 1 Couples numbered 1 4 2 3 2 Set & turn is a 'balance' set and open hand turn. The Lancers Quadrille Figure 1 (4x24) 4 1st lady, 2nd man advance & retire, 4 Adv, turn two hands, return to place. 4 1st couple lead through across set 4 2nd couple lead through back 8 all set & turn corners. 24 Repeat, 2nd lady, 1st man leading 24 Repeat 3rd lady, 4th man leading 24 Repeat, 4th lady, 3rd man leading Figure 2 (4x24) 4 1st couple advance & retire. 2 1st lady adv to centre, turn to face partner 2 1st couple honour each other. 8 1st couple set and turn then sides form top & bottom lines 4 Lines advance & retire, 4 Advance and turn partners to place. 24 Repeat with 2nd couple leading 24 Repeat with 3rd couple leading 24 Repeat with 4th couple leading Figure 3. (2x32) 4 Ladies advance, curtsey & retire. 4 Men adv, bow, turn by left, bow to partners, then join RH in centre, (ladies RH on partners left elbow). 8 Promenade round set to place. 4 Ladies adv, curtsey & retire again. 4 Men adv, bow, turn by right, bow to partners, join LH in centre, right arm behind partner. 8 Promenade round to set in place. 32 Repeat. The Lancers Quadrille. Figure 4. (4x24) 8 Top couples visit R then L 4 Right Hands around with LH couple 4 then left hands around. 8 Circle left with that couple. 24 Repeat with side couples leading. 24 repeat, top couples visit L then R. 24 Repeat, side couples visit L then R. Figure 5. (4x48 +24) 8 All grand chain 1/2 way round and honour partners. 8 Continue grand chain to place and honour partners. 8 1st couple visit, return to place, facing out with sides in behind. 2 Change places with partner, 2 All rock fwd and back 2 change places again 2 All rock fwd and back 8 Cast out reform in lines 4 Lines advance & retire 4 Advance & turn partners to place 48 Repeat with 2nd couple leading 48 Repeat with 3rd couple leading 48 Repeat with 4th couple leading. 8 Grand chain 1/2 way round and honour partners. 8 continue grand chain to place and honour partners 8 swing partners (R arm round partner, LH in air) Note: All figures walked. Set & Turn is a 'balance' set and open two hand turn. The Prince Imperial's Quadrille Figure 1. (4x24) 4 Top couples visit right, honour sides. 4 Top men retire with partner & side lady to opposite place, (ladies facing each other). 8 Ladies grand chain to places 8 All set and turn partners 24 Top couples repeat back to place. 48 Repeat with side couples. Figure 2 (4 x 24) 4 1st Lady, 2nd man adv & turn in centre finish facing 2nd lady. 2 2nd lady pass through to 1st man. 2 Both couples turn out to place. 4 top couples advance & retire. 4 Ladies chain back to place. (Nariel) 8 Chasse-croise. (4 steps past partner RH turn corner 4 steps back, LH turn with partner.) 24 Repeat with 2nd lady, 1st man leading 24 Repeat with 3rd lady, 4th man leading 24 Repeat wth 4th lady, 3rd man leading. Figure 3 (4x32) 4 1st lady to centre, curtsey to partner. (RH in RH, ACW turn in to centre) 4 2nd lady to centre, curtsey to partner. 4 3rd lady to centre, curtsey to partner.4 4th lady to centre, curtsey to partner. 8 ladies join hands, circle R, small steps after circle R, Men join circle, (giving RH to partner). 4 Balance for 4 (step lift x 4) 4 Turn partners to place, bow & curtsey. 32 Repeat, Lady 2, 1, 4 & 3 to centre 32 Repeat Lady 3, 4, 2 & 1 to centre 32 Repeat, Lady 4, 3, 1 & 2 to centre The Prince Imperial's Quadrille Figure 4 (4x32) 4 Top couples advance & retire. 4 Top couples adv, ladies move to R, as men retire to place. 8 Line of 3 adv & ret twice. 4 Single men adv, bow and retire. 4 Re-advance and turn to face partner. 4 Circle L half way round (with partner & side couple). 4 Half R & L to place. 32 Repeat with side couples leading. 32 Repeat with top couples leading (men moving to left as ladies retire) 32 Repeat with Side couple leading. (Men moving to left as ladies retire) Figure 5 (4x32 +32) 16 Ladies to the right, (RH turn with corner man then continue round to the right turning each man) 4 1st Lady, 2nd man advance & retire 4 re-advance & turn RH (finish facing partners) 8 set & turn partners (finishing in place) 32 Repeat with 2nd Lady, 1st man leading 32 repeat with 3rd lady, 4th man leading 32 Repeat with 4th Lady, 3rd man leading 16 Ladies to the right again. 4 Men turn partners to centre. 4 All bow and curtsey. 8 Promenade set ( hall) Note: Set & turn is a 'balance' set and open hand turn. The Parisienne Quadrille Figure 1 (1x32) 8 Couples R and L through. (without giving hands) 8 set & turn partners 8 Ladies chain. 4 Couples promenade across set. 4 Half R and L to place. Figure 2 (2x24) 4 Couples advance & retire. 4 Cross over (without changing places with partners) 8 Repeat back to place. 8 Set & turn partners. 24 Repeat. Figure 3 (2x32) 4 Lady 1, Man 2 adv, touch RH, retire to opposite place. 4 Lady 1, Man 2 adv, join LH, give RH to partner. 4 Line of 4 balance fwd & back twice 4 Men lead partners to opp. Place 4 Lady 1, Man 2 adv & retire 4 Lady 1, Man 2 adv, honour & ret. 4 Couples, advance & retire. 4 Half R & L to place. 32 Repeat with Lady 2, Man 1. The Parisienne Quadrille Figure 4. (2x32) 4 1st couple advance & retire. 4 1st couple adv, lady join 2nd couple. 4 Line of 3 adv. & ret, 1st man retire. 4 Line of 3 adv. Ladies cross to 1st man. 4 Line of 3 adv. & ret, 2nd man retire. 4 Re-advance, form circle with 2nd man. 4 Circle L half way round. 4 Half R & L to place. 32 Repeat with 2nd couple leading. Figure 5 (2x32) 4 Couples advance & retire 4 Cross over 8 Repeat back to place. 8 Ladies chain across & back.8 Set & turn partners. 32 Repeat Notes: 1 This 'quadrille' is similar to the first set (1st 4 figures) and is danced as two couple sets. 2 Set & turn is a 'balance' set and open hand turn. Wellington Waltz 8 Honour Partner, honour corner 8 Circle L 7 steps, then tap, tap 8 Circle R 7 steps, then tap, tap 4 Top couples, 2 side-steps to centre and back with lady turning under man's left arm. 4 Waltz across to opposite side 8 Side couples repeat. 8 Top ladies chain across. (pause in centre, turn twice with opp. Man) 8 Side ladies chain across. 8 Grand Chain half way round set. 8 Waltz to man's place. 64 Repeat with side couples leading. Waltz Cotillon 8 Honour Partner, honour corner 16 1st couple waltz the set. 8 Top ladies cross over.8 Side ladies cross over. 8 Top men cross over. 8 Side men cross over. 16 All waltz back to place. Form top & bottom lines, 8 Adv. & ret, cross over. 8 Adv. & ret, cross back. 16 Waltz chain to meet partner. 16 All waltz back to place. Form top & bottom lines, 8 Adv. & ret, cross over. 8 Adv. & ret, cross back. 16 Waltz chain to meet partner. 16 All waltz back to place. 112 Repeat with 2nd couple leading. 112 Repeat with 3rd couple leading. Side lines adv. & ret. 112 Repeat with 4th couple leading. Side lines adv. & ret. Galopade Quadrille 8 Honour Partner, honour corner 8 All galop round set. (Galop half way round set, on opp. Side change places with partner, continue galop to place.) 8 Top couples R & L through. 8 Side couples R & L through. 8 All set & swing partners. 8 All galop round set. 8 Top ladies chain. 8 Side ladies chain. 8 All set & swing partners. 8 All galop round set. 8 1st couple lead through, 2nd on return 8 3rd couple lead through, 4th on return 8 All set & swing partners. 8 All galop round set. 4 1st lady & 2nd man adv. & ret. 4 2nd lady & 1st man adv. & ret. 4 3rd lady & 4th man adv. & ret. 4 4th lady & 3rd man adv. & ret. 8 All set & swing partners. 8 All galop round set. 4 Ladies advance & retire. 4 Men advance & retire. 8 Double ladies chain. 8 All set & swing partners. 8 All galop round set. 8 Top couples waltz the set 8 Side couples waltz the set 8 All set & swing partners. 32 Waltz the hall. The Caledonians Quadrille Figure 1. (2x32) 4 Top couples R.H. across, move CW (Ladies hands joined over Mens). 4 then L.H. across, move ACW. 8 Set & swing Partners 8 Top ladies chain. 4 Top couples promenade across set. 4 Half R and L to place. 32 Side couples repeat. Figure 2. (4x24) 8 1st Man advance & retire twice. 8 Set & swing corners. 8 Promenade with corners (to men's position.) 24 2nd man repeat. 48 3rd and 4th man repeat. Figure 3. (4x32) 4 Lady 1, Man 2 advance & retire. 4 Re-advance, 2 hand turn to place. 8 1st & 2nd couples lead through and back. (1st lead through across, 2nd back) 8 Set & swing corners. 4 All advance & retire. 4 Swing partners. 32 Repeat wth Lady 2, Man 1. 32 Repeat with Lady 3, Man 4. 32 Repeat with Lady 4, Man 3. The Caledonians Quadrille Figure 4. (4x24) 2 Lady 1, Man 2 advance and stop. 2 Lady 2, Man 1 advance and stop. 4 Turn partners back to place. 2 All ladies to the right 4 steps. 2 All men to the left 4 steps. 2 All ladies to the right 4 steps. 2 All men to the left 4 steps. 4 Promenade to place. 4 Swing partners. 24 Repeat wth Lady 2, Man 1 leading. 24 Repeat wth Lady 3, Man 4 leading. 24 Repeat wth Lady 4, Man 3 leading. Figure 5. (4x48 + 16) 8 1st couple visit. 4 Ladies advance, curtsey & retire. 4 Men advance, bow & retire. 8 All set & swing partners. 8 Grand chain 1/2 way round and honour partners. 4 Promenade to place 4 and swing partners. 8 Chasse-croise, (4 steps past partner, RH to corner balance fwd & back, then 4 steps back, LH to partner balance fwd & back). 48 Repeat with 2nd couple leading. 48 Repeat wth 3rd couple leading. 48 Repeat wth 4th couple leading. 8 All promenade set. 8 Swing partners. Note: Set & swing is 'normal' set and cross hand swing. The Lancers Quadrille (BMC version) Figure 1. (4x32) 8 1st Lady, 2nd man advance & swing in centre (with ballroom hold). 4 Partners move 1/2 way across, Centres keep swinging. 4 Promenade partner to opp. Place. 8 1st couple lead through to place. 8 All swing corners. 32 Repeat with 2nd lady, 1st man. 32 Repeat with 3rd lady, 4th man. 32 Repeat with 4th lady, 3rd man. Figure 2. (4x32) 8 1st couple lead up (to 2nd) & retire. 8 1st couple swing in place Form top & bottom lines. 8 Lines adv & retire twice. 8 Swing partners. 32 Repeat with 2nd couple leading. 32 Repeat with 3rd couple leading. (Forming side lines instead) 32 Repeat with 4th couple leading. (Forming side lines instead) Figure 3. (2x32) 4 Introduction - Ladies to the centre and men form a circle around them. 8 Men circle left. 8 Men circle right. Men form a grand cross (LH) Right arm behind partners. 16 Promenade round set. Ladies return to the centre. 32 Repeat - Circle L & R, & Grand Cross. The Lancers Quadrille (BMC version) Figure 4. (2x48) 8 Top couples visit. 4 Tops RH star. 4 then LH star. 8 Tops basket Left. 8 Tops basket Right. 8 Tops circle Left. Tops circle Right. 48 Repeat with side couples leading. Figure 5. ((4x 16+32) + 24) 8 All grand chain 1/2 way round and honour partners. 8 Promenade with partners to place. 8 1st couple lead up, turn and lead out with side falling in behind. 8 Cast out, reform top & bottom lines. 4 Lines advance & retire. 4 Advance & swing partners to place. 8 Swing partners in place. 48 Repeat with 2nd couple leading. 48 Repeat with 3rd couple leading (forming side lines) 48 Repeat with 4th couple leading. (forming side lines) 8 All grand chain 1/2 way round and honour partners. 8 Promenade with partners to place. 8 Swing partners in place. Note: Normal swing here is with hands crossed. 1. The Quadrille 2.The Lancers Quadrille 3. The Prince Imperials 4. The Parisienne Quadrille 5. The Wellington Waltz 6. The Waltz Cotillon 7. The Galopade Quadrille 8. The Caledonians Quadrille 9. The Lancers Quadrille (BMC)person, individual, peter ellis oam

Small off white coloured booklet Bush Music Club Inc. Colonial Subscription Ball 1990 Dancers Companion (A guide to the Quadrilles) The Quadrille Figure 1 (Le Pantelon) (2x32) 8 Top couples R and L through. (without giving hands). 8 Set & turn Partners 8 Top ladies chain. 4 Top couples promenade across set. 4 Half R and L to place. 32 Side couples repeat Figure 2 (Le 'Ete) (4x24) 4 Top couples advance & retire. 4 Cross over (without changing places with partner). 8 Repeat back to place. 8 Set & turn partners. 24 Sides repeat. 48 Top and Sides repeat. Figure 3 (La Poule) (4x32) 4 Lady 1, Man 2 adv, tough RH, retire to opposite place. 4 Lady 1, Man 2 adv, join LH give RH to partner 4 Line of 4 balance fwd & back twice. 4 Men lead partners to opp. Place. 4 Lady 1, Man 2 adv. & ret. 4 Lady 1, Man 2 adv, honour & ret. 4 Top couples, advance & retire. 4 Half R & L to place. 32 Repeat with Lady 2, Man !. 32 Repeat with Lady 3, Man 4. 32 Repeat with Lady 4, Man 3. The Quadrille Figure 4. (La Pastourelle) (4x32) 4 1st couple advance & retire. 4 1st couple adv, lady join 2nd couple. 4 Line of 3 adv. & ret, 1st man retire. 4 Line of 3 adv. Ladies cross to 1st man. 4 Line of 3 adv. & ret, 2nd man retire. 4 Re-advance, form circle with 2nd man. 4 Circle L half way round. 4 Half R & L to place. 32 Repeat with 2nd couple leading. 32 Repeat with 3rd couple leading. 32 Repeat with 4th couple leading. Figure 5 (La Finale) (4 x 32 + 8) 4 All advance & retire. 4 Turn partners. 4 Ladies adv, curtsey & retire. 4 Men advance, bow & retire. 8 All set & turn corners. 8 Promenade with corner. (men to original place with corner) 96 Repeat 3 times to return to partner. 4 All advance & retire. Turn Partners. Notes: 1 Couples numbered 2 Set & turn is a 'balance' set and open hand turn. The Prince Imperial's Quadrille Figure 1. (4x24) 4 Top couples visit right, honour sides. 4 Top men retire with partner & side lady to opposite place, (ladies facing each other). 8 Ladies grand chain to places 8 All set and turn partners 24 Top couples repeat back to place. 48 Repeat with side couples. Figure 2 (4 x 24) 4 1st Lady, 2nd man adv & turn in centre finish facing 2nd lady. 2 2nd lady pass through to 1st man. 2 Both couples turn out to place. 4 top couples advance & retire. 4 Ladies chain back to place. (Nariel) 8 Chasse-croise. (4 steps past partner RH turn corner 4 steps back, LH turn with partner.) 24 Repeat wth 2nd lady, 1st man leading 24 Repeat wth 3rd lady, 4th man leading 24 Repeat wth 4th lady, 3rd man leading. Figure 3 (4x32) 4 1st lady to centre, curtsey to partner. (RH in RH, ACW turn in to centre) 4 2nd lady to centre, curtsey to partner. 4 3rd lady to centre, curtsey to partner.4 4th lady to centre, curtsey to partner. 8 ladies join hands, circle R, small steps after circle R, Men join circle, (giving RH to partner). 4 Balance for 4 (step lift x 4) 4 Turn partners to place, bow & curtsey. 32 Repeat, Lady 2, 1, 4 & 3 to centre 32 Repeat Lady 3, 4, 2 & 1 to centre 32 Repeat, Lady 4, 3, 1 & 2 to centre The Prince Imperial's Quadrille Figure 4 (4x32) 4 Top couples advance & retire. 4 Top couples adv, ladies move to R, as men retire to place. 8 Line of 3 adv & ret twice. 4 Single men adv, bow and retire. 4 Re-advance and turn to face partner. 4 Circle L half way round (with partner & side couple). 4 Half R & L to place. 32 Repeat with side couples leading. 32 Repeat with top couples leading (men moving to left as ladies retire) 32 Repeat with Side couple leading. (Men moving to left as ladies retire) Figure 5 (4x32 +32) 16 Ladies to the right, (RH turn with corner man then continue round to the right turning each man) 4 1st Lady, 2nd man advance & retire 4 re-advance & turn RH (finish facing partners) 8 set & turn partners (finishing in place) 32 Repeat with 2nd Lady, 1st man leading 32 repeat with 3rd lady, 4th man leading 32 Repeat with 4th Lady, 3rd man leading 16 Ladies to the right again. 4 Men turn partners to centre. 4 All bow and curtsey. 8 Promenade set ( hall) Note: Set & turn is a 'balance' set and open hand turn. The Parisienne Quadrille Figure 1 (1x32) 8 Couples R and L through. (without giving hands) 8 set & turn partners 8 Ladies chain. 4 Couples promenade across set. 4 Half R and L to place. Figure 2 (2x24) 4 Couples advance & retire. 4 Cross over (without changing places with partners) 8 Repeat back to place. 8 Set & turn partners. 24 Repeat. Figure 3 (2x32) 4 Lady 1, Man 2 adv, touch RH, retire to opposite place. 4 Lady 1, Man 2 adv, join LH, give RH to partner. 4 Line of 4 balance fwd & back twice 4 Men lead partners to opp. Place 4 Lady 1, Man 2 adv & retire 4 Lady 1, Man 2 adv, honour & ret. 4 Couples, advance & retire. 4 Half R & L to place. 32 Repeat with Lady 2, Man 1. The Parisienne Quadrille Figure 4. (2x32) 4 1st couple advance & retire. 4 1st couple adv, lady join 2nd couple. 4 Line of 3 adv. & ret, 1st man retire. 4 Line of 3 adv. Ladies cross to 1st man. 4 Line of 3 adv. & ret, 2nd man retire. 4 Re-advance, form circle with 2nd man. 4 Circle L half way round. 4 Half R & L to place. 32 Repeat with 2nd couple leading. Figure 5 (2x32) 4 Couples advance & retire 4 Cross over 8 Repeat back to place. 8 Ladies chain across & back.8 Set & turn partners. 32 Repeat Notes: 1 This 'quadrille' is similar to the first set (1st 4 figures) and is danced as two couple sets. 2 Set & turn is a 'balance' set and open hand turn. The Lancers Quadrille Figure 1 (4x24) 4 1st lady, 2nd man advance & retire, 4 Adv, turn two hands, return to place. 4 1st couple lead through across set 4 2nd couple lead through back 8 all set & turn corners. 24 Repeat, 2nd lady, 1st man leading 24 Repeat 3rd lady, 4th man leading 24 Repeat, 4th lady, 3rd man leading Figure 2 (4x24) 4 1st couple advance & retire. 2 1st lady adv to centre, turn to face partner 2 1st couple honour each other. 8 1st couple set and turn then sides form top & bottom lines 4 Lines advance & retire, 4 Advance and turn partners to place. 24 Repeat with 2nd couple leading 24 Repeat with 3rd couple leading 24 Repeat with 4th couple leading Figure 3. (2x32) 4 Ladies advance, curtsey & retire. 4 Men adv, bow, turn by left, bow to partners, then join RH in centre, (ladies RH on partners left elbow). 8 Promenade round set to place. 4 Ladies adv, curtsey & retire again. 4 Men adv, bow, turn by right, bow to partners, join LH in centre, right arm behind partner. 8 Promenade round to set in place. 32 Repeat. The Lancers Quadrille. Figure 4. (4x24) 8 Top couples visit R then L 4 Right Hands around with LH couple 4 then left hands around. 8 Circle left with that couple. 24 Repeat with side couples leading. 24 repeat, top couples visit L then R. 24 Repeat, side couples visit L then R. Figure 5. (4x48 +24) 8 All grand chain 1/2 way round and honour partners. 8 Continue grand chain to place and honour partners. 8 1st couple visit, return to place, facing out with sides in behind. 2 Change places with partner, 2 All rock fwd and back 2 change places again 2 All rock fwd and back 8 Cast out reform in lines 4 Lines advance & retire 4 Advance & turn partners to place 48 Repeat with 2nd couple leading 48 Repeat with 3rd couple leading 48 Repeat with 4th couple leading. 8 Grand chain 1/2 way round and honour partners. 8 continue grand chain to place and honour partners 8 swing partners (R arm round partner, LH in air) Note: All figures walked. Set & Turn is a 'balance' set and open two hand turn. The Caledonians Quadrille Figure 1. (2x32) 4 Top couples R.H. across, move CW (Ladies hands joined over Mens). 4 then L.H. across, move ACW. 8 Set & swing Partners 8 Top ladies chain. 4 Top couples promenade across set. 4 Half R and L to place. 32 Side couples repeat. Figure 2. (4x24) 8 1st Man advance & retire twice. 8 Set & swing corners. 8 Promenade with corners (to men's position.) 24 2nd man repeat. 48 3rd and 4th man repeat. Figure 3. (4x32) 4 Lady 1, Man 2 advance & retire. 4 Re-advance, 2 hand turn to place. 8 1st & 2nd couples lead through and back. (1st lead through across, 2nd back) 8 Set & swing corners. 4 All advance & retire. 4 Swing partners. 32 Repeat with Lady 2, Man 1. 32 Repeat with Lady 3, Man 4. 32 Repeat with Lady 4, Man 3. The Caledonians Quadrille Figure 4. (4x24) 2 Lady 1, Man 2 advance and stop. 2 Lady 2, Man 1 advance and stop. 4 Turn partners back to place. 2 All ladies to the right 4 steps. 2 All men to the left 4 steps. 2 All ladies to the right 4 steps. 2 All men to the left 4 steps. 4 Promenade to place. 4 Swing partners. 24 Repeat with Lady 2, Man 1 leading. 24 Repeat with Lady 3, Man 4 leading. 24 Repeat with Lady 4, Man 3 leading. Figure 5. (4x48 + 16) 8 1st couple visit. 4 Ladies advance, curtsey & retire. 4 Men advance, bow & retire. 8 All set & swing partners. 8 Grand chain 1/2 way round and honour partners. 4 Promenade to place 4 and swing partners. 8 Chasse-croise, (4 steps past partner, RH to corner balance fwd & back, then 4 steps back, LH to partner balance fwd & back). 48 Repeat with 2nd couple leading. 48 Repeat with 3rd couple leading. 48 Repeat with 4th couple leading. 8 All promenade set. 8 Swing partners. Note: Set & swing is 'normal' set and cross hand swing. The Royal Irish Quadrille Figure 1. (2x32) 8 Top couples to Right, R & L through 8 Set & swing Partners. 8 Ladies chain. 4 Couples promenade across (to the other couples position). 4 Half R & L to place. 32 Repeat with tops to the left. Figure 2. (4x24) 4 Top couples to Right, adv & ret. 4 Cross over (without changing places with partner). 8 Repeat back to place. 8 Set & swing partners. 24 Repeat with top couples to the Left. 48 Tops repeat with Right and Left sides. Figure 3. (4x32) 4 Lady 1,2 and Man on Right, advance, touch RH, retire to opposite place. 4 Advance again, join LH, give RH to partner. 4 Line of 4 balance fwd & back twice. 4 Men Lead partners to opp. Place. 4 Lady 1,2 and opp. Man adv & ret. 4 Advance, honour & retire. 4 Couples, advance & retire. 4 Half R & L to place. 32 Repeat with Ladies 3,4 leading. 64 Repeat with Tops facing left. The Royal Irish Quadrille Figure 4. (4x32) 4 Top couples to Right, adv & ret. 4 Re-adv, Top Ladies join opp. Couple. 4 Line of 3 adv & ret. Top men retire. 4 Line of 3 adv, ladies join other man. 4 Line of 3 adv & ret, Side men retire. 4 Re-advance, form circle with opp. Man. 4 Circle L half way round. 4 Half R & L to place. 32 Repeat with Side ladies leading. 64 Repeat with Top couples facing left. Figure 5. (4 x 32 + 8) 4 All advance & retire. 4 Swing partners. 4 Ladies advance, curtsey & retire. 4 Men advance, bow & retire. 8 All set & swing corners. 8 Promenade with corner. (Men to original place with corner). 96 Repeat 3 times to return to partner. 4 All advance & retire. 4 Swing partners. Notes: 1. This is The Quadrille danced diagonally, with Top couples dancing first with the side couple on their right, then the left. Ie. 1-3 and 2-4 then 1-4 and 2-3. 2. Set & swing is 'normal' set and irish swing.The Eightsome Reel Numbering: Clockwise 1-2-3-4 Part A (40 Bars) 4 All join hands, circle left 4 All circle right. 4 Grand Cross, Ladies join RH. 4 Grand Cross, Men join LH. 8 Set & turn Partners 16 Grand chain right round set. Part B ( 8x48 bars) 1st Lady advance to centre, Others join hands in circle. 8 Circle left and right 4 Set once and turn partner 1st Lady sets to partner then open hand turn once with partner. 4 Set once and turn opposite 1st Lady sets to opposite man, then open hand turn once. 8 Reel of 3, 1st Lady, partner and opposite man 1st Lady remains in centre. 8 Circle left and right again 4 Set once and turn side man 1st lady and man on right. 4 Set once and turn other side man 1st lady and man on left. 8 Reel of 3, 1st lady, and two side men. 48 2nd lady repeat. 96 3rd and 4th ladies repeat. 192 Men repeat same movement. The Eightsome Reel Part C (40 Bars) 8 All circle left and right. 4 Grand cross - Ladies join RH. 4 Grand Cross - Men join LH. 8 All set and turn partners. 16 Grand Chain round set. Note: Set is 'normal' set. Turn is open hand turn. NOTES 1. The Quadrille 2. The Prince Imperials 3. The Parisienne Quadrille 4. The Lancers Quadrille 5. The Caledonians Quadrille 6. The Royal Irish Quadrille 7. The Eightsome Reelperson, individual, peter ellis oam

The word “catheter” comes from Greek, meaning “to let or send down.” Catheters were used as early as 3,000 B.C. to relieve painful urinary retention. In those times, many materials were used to form a hollow catheter shape, including straw, rolled up palm leaves, hollow tops of onions, as well as, gold, silver, copper, brass, and lead. Malleable catheters were developed in the 11th century. In time, silver was used as the basis of catheters as it could be bent to any desired shape and was felt to have an antiseptic function. Benjamin Franklin, the inventor and colonial statesman, fashioned silver catheters for use by his older brother John. John suffered from kidney stones and needed to undergo a daily ritual of placing a bulky metal catheter into his bladder. To make these daily requirements on his brother less painful, Franklin worked with his local silversmith on his design for a flexible catheter. "It is as flexible as would be expected in a thing of the kind, and I imagine will readily comply with the turns of the passage," he wrote to John. Holes were bored into the sides of the catheter to allow for drainage. Coudé tip catheters were developed in the 18th and 19th centuries to facilitate male catheterization and continue to be used for this purpose in current medical practice. Catheters made from rubber were developed in the 18th century but were weak at body temperature, leaving debris in the bladder. The advent of rubber vulcanization, by Goodyear in 1844, improved the firmness and durability of the catheter, and allowed for mass production. Latex rubber became available in the 1930s. Dr. Frederic E.B. Foley (a St. Paul urologist) introduced the latex balloon catheter at a urologic meeting in 1935. Though he lost a legal battle with Davol for the patent, this catheter has since been known as the “Foley.” The earliest self-retaining catheters had wing tips (called Malecot) or flexible shoulders (called Pezzer), and were tied to the male penis or sutured to the female labia. Charriere’s French scale was used to describe the external diameter of a catheter. Thus the term “French (Fr)” size was coined. Joseph-Frederic-Benoit Charriere was a 19th century Parisian maker of surgical instruments. A 12 French catheter is approximately 4 mm in external diameter (0.33 mm = 1 French [Fr]). In French-speaking countries, these catheters may be referred to as the Charriere or abbreviated Ch. Catheterization of the bladder was felt to be fairly safe because of the antiseptic principles of Lister (1867). But many physicians continued to be concerned about catheter-related infections as patients were still developing “catheter fever” (systemic infection) despite antiseptic principles. After World War II, Sir Ludwig Guttman introduced the concept of sterile intermittent catheterization in patients with spinal cord injury. For many years, sterile technique was used for catheterization. In 1971, Dr. Jack Lapides of the University of Michigan at Ann Arbor introduced the clean intermittent catheterization (CIC) technique. Dr. Lapides’ theory was that bacteria weren’t the only cause of infection. He believed that chronic stagnant urine residuals and overstretching of the bladder were also responsible. But the fact that CIC was not performed in totally sterile conditions, Dr. Lapides still felt it was superior to indwelling catheters. Initially, Lapides was scorned in the urology world. Three decades after this debate, clean intermittent catheterization remains the preferred method to treat chronic urine retention and neurogenic bladder. Recent regulatory changes have recommended against the reuse of catheters for CIC in an attempt to further reduce the risk of catheter-associated urinary tract infections. https://www.urotoday.com/urinary-catheters-home/history-of-urinary-catheters.html This catheter was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928. Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served with the Australian Department of Defence as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community. They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine, administration, household equipment and clothing from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Stainless steel catheter with hollow tip from W.R. Angus Collection. Top and end of this instrument screw together. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, department of defence australia, australian army, army uniform, medical treatment, medical history, medical education, catheter

EDHS_04863 - Binder: Eltham Justice Precinct 1. Courthouse 1. Eltham Courthouse interesting facts 2. Plan and elevation drawings 3. Other courthouse plans and fittings 1880s – Brunswick, Maffra, Dunolly , Sunbury, Landsborough and Wodonga 4. Newspaper articles: i. ELTHAM POLICE COURT. (1892, April 1). Evelyn Observer, and South and East Bourke Record (Vic. : 1882 - 1902), p. 2 (MORNING.). Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article60667022 ii. BREAKING A PUBLICAN'S LEG. (1900, July 13). Evelyn Observer, and South and East Bourke Record (Vic. : 1882 - 1902), p. 2 (MORNING.). Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article60688367 iii. ELTHAM COURT. (1901, March 1). Mercury and Weekly Courier (Vic. : 1878 - 1903), p. 3. Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article58578953 iv. ANNIE CHASES A TINKER. (1902, October 3). Evelyn Observer, and South and East Bourke Record (Vic. : 1882 - 1902), p. 2 (MORNING.). Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article64029968 v. ELTHAM POLICE COURT. (1927, May 6). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 4 (AFTERNOON). Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article57754748 vi. ELTHAM POLICE COURT. (1927, May 20). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 3 (AFTERNOON). Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article57754814 vii. Eltham Police Court (1931, January 9). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 4. Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article56734073 viii. Repairs to Eltham Police Station, The Advertiser (1929, May 24). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 2 (AFTERNOON.). Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article57759907 ix. ELTHAM COURT. (1929, August 2). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 4 (AFTERNOON.). Retrieved July 5, 2022, from http://nla.gov.au/nla.news-article57760345 x. See also Trove list https://trove.nla.gov.au/list/116634 5. Letter: Shire of Eltham Historical Society to Shire of Eltham, 1 July 1969 regarding potential replacement of Eltham Courthouse and the building’s historical significance and acknowledgement 10 July 1969 6. Letter: Shire of Eltham Historical Society to Law Department, 26 May 1972, re preservation of Eltham Courthouse and potential classification and acknowledgement 7 June 1972 7. Newspaper article: Strangers around, so Eltham sought protection by Marguerite Marshall, Diamond Valley News, Tuesday, April 6, 1982, p2 (On reverse side, Top job for our Pauline, p1) 8. Eltham Courthouse Colour Scheme, Public Works Department, 10 September 1983 9. Newspaper article: Eltham Courthouse under threat of closure by Helen Gillman, Diamond Valley News, October 16, 1984 10. Newspaper article: Courthouse to close by Helen Gillman, Diamond Valley News, Tuesday, November 20, 1984, p1 (also on p2 an article about Diamond Valley Shire festivities for the State’s 150th) 11. We will keep your court – Kennett, Diamond Valley News (probable), c.Dec. 1984 12. Letter: Shire of Eltham to Shire of Eltham Historical Society, 15 March 1985, regarding potential for use of building as a museum and reply dated 17 April 1985 regarding Society’s interest in use of the building 13. Letter: Department of Conservation Forests & Lands to Shire of Eltham, August 1987, regarding expressions of interest in the building and letter from Shire (18 August 1987) to Society advising of same 14. Letter: Department of Conservation Forests & Lands to Shire of Eltham, 30 March 1988, advising Courthouse to be used by Eltham Youth Resources Centre and the rear section by other community groups. Noted that the historical society was suggested by Council as a future user of the adjoining police residence when Council first sought management of the building and that should be investigated. Includes Schedule of Repair and Maintenance Work (4 pages), Existing Conditions Survey 30/7/1987 (6 pages) and 1 page plan view diagram 15. Memo: Historic Places Section to Eltham Youth Resource Centre re paint analysis of Courthouse, 17/5/1988, (6 pages) 16. Newspaper article: Courthouse renovation by Jodie Haythorne, Diamond Valley News, November 23, 1992 17. National Trust of Australia Registration (classified 20 Oct 1977), printed March 2000 18. Letter: Heritage Victoria 28 Feb 2002 regarding the replacement of the Courthouse Stand (Witness Box) 19. Article: There’s still order in this stately court house, Eltham Shire (magazine), date unk., p22-23 20. Eltham Court House, Statement of Significance, Heritage Victoria Register, printed Nov 2004 21. Eltham 1860 Former Court House 730 Main Road Eltham, collated by Eltham District Historical Society Incorporated 2005 (4 pages) 22. Book Extract: Eltham, Historical Court Houses of Victoria by Michael Challinger, Palisade Press, 2001 23. Newspaper article: Courthouse rich with history by Harry Gilham, Nillumbik Mail, c.2001 (see also EDHS_03333) 24. Notes on history of site from Crown Reserve File Rs 12128, Municipal Buildings (Local Community Welfare Reserve) at Eltham, Department of Sustainability and Environment, April 2005 (4 pages) 25. Newspaper article: Historic building upgrade, Diamond Valley Leader, August 3, 2005, p17 26. Newspaper article: Courthouse regeneration secures boost, Valley Weekly, August 10, 2005 with picture of Harry Gilham, Steve Herbert and Greg Johnson 27. Newspaper article: Poets are summonsed, Diamond Valley Leader February 22, 2006, p37 features picture of Helen Lucas at the Eltham Courthouse 28. Newspaper article: Sharing a love of legalities, Diamond Valley Leader, March 1, 2006, p7 features a picture of Rob Hulls and Steve Herbert talking to students in the courthouse 29. Newspaper advertisement: Nillumbik Tender No. 2021-33, Building Restoration Works, Old Eltham Courthouse, The Age, November 7, 2020 30. Form: Police Officer’s Return To A Warrant Of Distress 31. Handwritten notes: three pages listing all 48 of the pigeon hole form listings in the cabinet in the courthouse 2. Police Quarters 1. 1971 Surveyors Plan of 728 Main Road and the Adjoining Courthouse 2. Letter: Shire of Eltham to Shire of Eltham Historical Society, 5 June 1981, requesting the society give consideration to the suitability of the existing buildings (former Vermin and Noxious Weeds Office, Department of Crown Lands and Survey) for historical purposes such as a museum 3. Minutes: Shire of Eltham Historical Society Committee Meeting, 10 June 1981 (2 pages) includes reference to possible use of building as a museum (also reference to Bills Horse trough to be retained) 4. Extract from Victoria Police Gazette 1930 with details of building and site 5. Newspaper article: Cubby haven, Diamond Valley News, October 28, 1991 about replica Police Station with picture of replica along with Monika Roitinger and Garry Bartlett outside the Police Station 6. Environment office up for sale? Mountain Views, Monday, June 12, 1995 (Nillumbik Shire Council proposing to sell property. Did not proceed as ownership held by the State of Victoria) 7. Extract from National Trust February 1998 edition, “Police Rescue” which states Heidelberg and Eltham Police Residences are the oldest known Police Residences in the Melbourne Metropolitan district 8. Newspaper article: The first police office by Harry Gilham, Nillumbik Mail, December 13, 2000 (also photocopy with notations on picture identifying buildings and Harry’s typed draft) 9. Fax Memo: Victoria Police List of Officers in Charge, Eltham Police Station, 1857-1991 onward, 21 Jan 2003 10. Former Police Quarters, Statement of Significance, Heritage Victoria Register, printed Nov 2004 11. Eltham 1860 Former Police Quarters 728 Main Road Eltham, collated by Eltham District Historical Society Incorporated 2005 (5 pages) 12. Report: Eltham District Historical Society to Living and Learning Nillumbik, 14 April 2010 regarding the poor state of condition of the former Police Residence 13. Photocopy of three photos of the former Police Residence, former Police Station (relocated to rear of site) and Stables, October 18, 1991 3. Lockup 1. Newspaper article: Heritage permit bid, Diamond Valley News, January 17, 2001 (also article “Eltham library tops”) includes picture of lockup located in Youth Road 2. Newspaper article: Old lockup in new site, Diamond Valley Leader, March 21, 2001, p15. Includes picture of Harry Gilham with lockup at justice Precinct 3. Letter: Victoria Police to Eltham District Historical Society, 20 March 1991 including laser print photo of lockup in 1963 at 23 Pryor Street 4. Fax: Graham Clark, Associated Crane Trucks Pty Ltd, 833 Main Road Hurstbridge; Quote 26.2.99 for $1,080 to move lockup from Youth Road to 728 Main Road 4. Local History Centre 1. Victoria Government Gazette: Photocopy, No. 165, Tuesday, December 7, 1858, establishment of a Court of Petty Sessions at Eltham, 7 December 1858 2. Victoria Government Gazette: Photocopy, September 16, 1859, contract issued for Police buildings at Eltham to Langridge and Co., McCarter, Baillie, Nicol and Co, Chadley, Amos and Co., Cameron, Payne, £1,150.7.0 3. Victoria Government Gazette: Photocopy, October 2, 1860, contract issued for Court of Petty Sessions at Eltham to James Duncan, £600 4. President’s Report, Eltham District Historical Society, Annual General Meeting, Wednesday, March 11, 1998 – covers the establishment of the Local History Centre and new home for the Society 5. Extract for EDHS Newsletter July 1998 – Eltham Local History Centre – Official Opening 6. Unveiling of 728 Street Sign, Speech notes by Cr Dianne Bullen, December 2000, includes invoice from John Sharp Signs Pty Ltd, 24/10/2000 and planning approval drawing dated 24/3/1999 reproduced in Newsletter No. 135 November 2000 7. Letter: Eltham District Historical Society to Living and Learning Centre, undated draft regarding being a member of the committee reviewing the development of the site 8. Notes from Rod Grant re funding of site development under the Community Jobs Program 9. Letter: Eltham District Historical Society to Nillumbik Living and Learning, 28 October 2004 re inclusion of the Society in enhancing the site under the Community Jobs Program 10. Letter: Department of Sustainability and Environment to Eltham District Historical Society, 28 February 2005 re preparing draft Conservation Plan and copy of cover letter in response 2 April 2005 11. Levels and Layout Plan, Nillumbik Shire Council, September 2005, AO copy 12. Letter: Department of Sustainability and Environment to Eltham District Historical Society, 12 September 2005 re Eltham Justice Precinct Conservation Management Plan 13. Letter: Living and Learning Nillumbik, 2 February 2006 to Eltham District Historical Society re forming a Committee to advise on the use, maintenance, management and preservation of the Justice Precinct 14. Minutes: Meeting of a Task group to explore the establishment of a Committee to manage the Eltham Justice Precinct, 20 December 2005 (with hand written notes) 15. President’s notes (EDHS), General Meeting item, 11 May 2006 pertaining to use and condition of the Eltham Justice Precinct 16. Paint estimates, Old Eltham Court House, undated 17. Notes from meeting 26 September (2006), Eltham Justice Precinct Committee 18. Notes from meeting 27 November (2006), Eltham Justice Precinct Committee 19. Terms of Reference for the Eltham Justice Precinct Committee, Draft for Living and Learning Committee Meeting 24 Jan 2007 (4 pages) 20. Newspaper article: Panel set up, Diamond Valley Leader, 7 March 2007 21. Minutes: Meeting of Eltham Justice Precinct Subcommittee, 10 May 2007 22. Minutes: Meeting of Eltham Justice Precinct Subcommittee, 5 July 2007 23. Minutes: Meeting of Eltham Justice Precinct Subcommittee, 11 October 2007 24. Minutes: Meeting of Eltham Justice Precinct Subcommittee, 7 February 2008 25. Minutes: Meeting of Eltham Justice Precinct Subcommittee, 10 April 2008 26. Minutes: Meeting of Eltham Justice Precinct Subcommittee, 14 August 2008 27. Letter: EDHS (Sue Law) to Living and Learning, 6 September 2008 re proposed signage 28. Agenda: Meeting of Eltham Justice Precinct Subcommittee, 16 October 2008 29. Suggested guidelines for use of the Court House for exhibitions 30. Handwritten note re Ken Eckersal and Uniting Church of possible donation of church organ for sale, proceeds to be used for activities at the Justice precinct 31. One page typed notes on each of the buildings in the Eltham Justice Precinct 5. Miscellaneous 1. Photocopy from Pioneers & Painters (2 pages) covering the establishment of Police and Court of Petty Sessions at Eltham 2. Photocopy of photo looking northeast across Little Eltham buildings c.1910 with notes 3. Photocopy of J.H Clarke photo looking up Maria Street from near Dalton Street with notes identifying precinct buildings 4. Photocopy of photo of Court House and Police Quarters with cow outside from Heather Jenkins scrapbook with notes identifying buildings 5. Sketch and notes with dimensions for blue stone lockup including other miscellaneous handwritten notes 6. Unidentified heritage review details of Justice Precinct (c.2004) 7. Hand written notes of telephone conversation held with Dennis McKay (6 May 1997) re Council use of site 8. Flyer: Victoria Police Historical Unit 9. Photocopy of thumbnail images of various Justice Precincts (not identified) 10. Email correspondence, 4 and 10 January 2008; J. Connor to Council and Councillors pertaining to proposed new toilet facilities at rear of Courthouse annexe. Two ring lever arch binder, white with various photocopies, printouts, newspaper clippingsHG Folders 15/52/59 integratedharry gilham collection, eltham courthouse, eltham justice precinct, eltham police residence, lockup, eltham community festival, eltham festival, eltham, heritage assessment, police residence

A granular metamorphic rock, marble is derived from limestone or dolomite and composed of calcite or dolomite interlocking grains. Heat and pressure from overlying sediments form it from limestone buried deep in Earth's crust. Graphite, pyrite, quartz, mica, and iron oxides can affect rock texture and colour. This specimen was found in Carrara, Italy. Carrara marble is the most common marble found in Italy, and it gets its name from the region where it is located. The marble was also called Luna marble and was used as a decorative element in buildings and sculptures. It has been quarried since Roman times in the Lunigiana, the northernmost tip of Tuscany, just outside the city of Carrara in the province of Massa and Carrara.Marble is one of the most popular and expensive rocks used in sculpture, architecture, interior decorations, statues, table tops, and novelties. It is available in various colors and textures depending on the chemical composition. The strength of the rock and its ability to hold finer details have made it a favorite among designers. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid hand sized Marble (metamorphic rock) predominantly white with specks light grey and ochre geological specimen, geology, geology collection, burke museum, beechworth, marble, carrara marble, italian marble, marble specimen, tuscany

Part of the HEWSTON collection re WW1 & WW2.Four page military newsletter dated Wednesday 15.8.1945, sepia with black print & red heading, Issue No 73.documents - newspapers, military history, table tops, newsletter

Bottles of milk were bought at a local store. The measurement of liquid was in pints and money in pence pre 1966. Bottles were returned to the manufacturer who reused the bottle. To encourage the return of bottles, collectors were given 7 pence per bottle. TB was tested in the milk at this time and the milk was pasteurised. History of the Kiewa Company.Historical: Dairy farmers lived in the Kiewa Valley and sent their milk to the Kiewa Factory to be pasteurised and TB tested. The bottles and tops changed colour & design regularly. Aesthetic: Display showing variations of shape, embossing, and stencil.Narrow necked clear glass bottle used to carry one imperial pint of milk. Embossed on bottom near base and on base. Blue stencilled writing / print on opposite sides of the bottle.Side: Embossed: Inside embossed circle is '6' above '19'. and underneath this: One Imperial pint. Base: Embossed: Common Seal - 'A' with 'G' and 'M' inside the A and in the middle 'ISM 229' and below that '2' Stencil on side: 'Kiewa' signature and underneath printed 'Pasturised / And TB Tested Milk' / 'Use' (written) and then printed 'Kiewa Butter / Cream and / Ice cream Mix' Stencil on the opposite side: '7d Deposit On / This Bottle'kiewa, dairy, milk, butter, cream, ice-cream, farmers

Made in Australia by Middy's Used by a pioneer family in Moorabbin. Manufactured by Middy's: Arriving in Australia at age 19 by ship at Port Melbourne, Dutch immigrant Petrus Cornelis Nicolaas Middendorp (1891-1963) settled in Melbourne to apply his trade as a cigar maker for the British American Tobacco Co. Retiring from the cigar industry and following his work as an honorary orderly tending WW1 Australian casualties in Paris and Melbourne, Petrus began selling Dutch manufactured light globes, vacuum cleaners and other electrical products imported from Holland and England. Warehousing and sales of the goods were undertaken from 1928 by the ‘Middendorp Goods Supply Company’ initially located in Flinders Lane in Melbourne’s CBD, then moving to McKillop Street, followed by a basement store at 148 Queen Street. During the 1940s a manufacturing plant known as ‘Middendorp and Sons’ was established in the Melbourne suburb of Preston, where Petrus’ three teenage sons Peter, Nick and Hugh joined him. Peter and Hugh worked with a small team of staff to produce rubber plug tops, extension sockets, double adaptors and a small range of bakelite accessories, whilst Nick became the first sales rep calling on customers and construction sites. The products were sold under the brand name of ‘Middy’. A name change of the distribution business took place in the late 40s and Middendorp Electric Company Pty Ltd was officially registered in 1948. The manufacturing operation ceased during the late 50s due to the introduction and acceptance of plastic and injection moulding. However, the Middendorp family had positioned itself to further establish its electrical wholesale business with the first branch and Head Office opening in 1956, located at 520 Latrobe Street, Melbourne. By 1962 there were five trading branches, growing to 25 in 1986 and 101 by 2018 Australia wide. Middendorp Electric, more commonly known as Middy’s and readily identified by its trademark colour of Middy’s pink, has developed into the largest privately owned Electrical Wholesaler in Australia. In 2015 Middy’s acquired Mekolec lifts fire and electrical adding presence and sector expertise in Melbourne’s inner south. In Sep 2018 Middy's acquired Salmon Brothers Electrical, with 5 Branches in Sydney's Metro region and in 2019 they acquired Goulburn Electrical Wholesalers greatly adding to Middy's location coverage in NSW and providing Middy’s the ability to better service NSW contractors. Bakerlite electrical fittingMiddy - Made in Australiamiddy's, moorabbin pioneers, electrical, bakerlite

"Modern Developments in the Australian Wool Industry", c.1923. Examines the operations of the Yarra Falls Spinning Co. Pty Ltd and the Australian Knitting Mills Limited (makers of Golden Fleece and Kookaburra knitted underwear). Includes photos of processes and of the buildings.F H Murgatroyd/20 Kensington Rd/ Leopold 3224weaving textile industry - history textile production machine knitting textile mills, yarra falls spinning co. pty ltd australian knitting mills limited, yarn - woollen, cloth - worsted, yarn - worsted, wool tops, yarn - cashmere, weaving, textile industry - history, textile production, machine knitting, textile mills

"Modern Developments in the Australian Wool Industry", c.1923. Examines the operations of the Yarra Falls Spinning Co. Pty Ltd and the Australian Knitting Mills Limited (makers of Golden Fleece and Kookaburra knitted underwear). Includes photos of processes and of the buildings.Book, front cover: "Modern Developments in the Australia Woollen Industry" c.1923; Yarra Falls Spinning Co. Pty Ltd and Australian Knitting Mills Limited.weaving textile industry - history textile production machine knitting textile mills, yarra falls spinning co. pty ltd australian knitting mills limited, yarn - woollen, cloth - worsted, yarn - worsted, wool tops, yarn - cashmere, logo merino: sheep in australian art and design - exhibition (29/07/2000 - 04/02/2001), weaving, textile industry - history, textile production, machine knitting, textile mills

A bag containing Tarax bottletops from various flavours - lemonade, solo, orange and dry ginger ale, limelite, Tarax special dry. Inside the caps there are markings, star, 3d, 1/-,6d, 2/-, Tommy Tarax one penny.industries, 'tarax', lydia chancellor, collection, bottle tops, bottles, manufacturing, soft drinks, industry, taraxale brewing, tarax, tarax brewing industry, pethard family, mr. george pethard, bendigo, industries

charcoal on papersandringham, craig gough, coast, boat, port phillip bay, sailing, half moon bay, roof tops, palm tree

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This brocade top was made and worn by Thea Sartori.Brocade evening top highlighted with flowers of orange, blue and purple. evening wear, evening tops, australian fashion -- 1960s, thea sartori

Wedding dress originally made for Farmvision '96 from wool slivers produced by Geelong Wool Combing Ltd. Designed and made by Ann Wisby and Wendy Waugh of Gordon TAFE with the assistance of their students from Creative Studies Department. This dress has been modelled, professionally photographed and displayed at Farmvision '96 and National Wool Week '96 and '97. The dress was then given back to GWC and then donated to the Wool Museum.Wedding dress, made from wool top slivers. Halter neck, embroidered and appliqued bodice, long skirt. Also includes head dress and bouquet.fashion, geelong wool combing ltd, wool tops, waugh, ms wendy - gordon institute of tafe wisby, ms ann - gordon institute of tafe

Printed newspaper