In the late 19th and early-20th centuries household heaters burned wood and coal for heating. In winter the warm air from the fireplace would flow into the room through a round flue in the face of the chimney. In the warmer months the unnecessary heater and flue was removed and the chimney cleaned. Homemakers then covered the circular flue hole with a decorative and usually inexpensive wall hanging to prevent draughts and dust. The practice was especially popular in France and Germany where a lot of the artwork originated. The covers were no longer needed after households changed over to more modern designs of heaters. The flue covers were known as Wall Art or Flue Cover Art. They were usually round and illustrated with a lithograph or chromograph print. The picture was then mounted on card, covered with glass, and framed with a brass or tin rim. The border was commonly gilt with a black stripe around the centre. There were numerous illustrations, many with a European appearance, and were easily bought through local merchants for a small price.This pretty flue cover is significant for representing a common domestic wall decoration from the late Victorian to the Edwardian eras, when solid fuel heaters were used in low to high income homes. The picture is similar to many other flue cover images, apart from the holly clutched in the girl’s hand, which gives the cover a Christmas theme. This flue cover is the only one in our collection and appears to have a unique design; the hand painted floral decoration on the glass and the two crimson rings around the edges of the frame’s white border haven’t been seen on other flue covers. Flue cover, metal and glass. Print of a young girl with blue eyes and curly blonde hair, a hooded blue cape, a silver clasp with blue stones, and a sprig of holly in her hand. The round metal frame forms a deep, white-painted, crimson-edged border for the illustration. The hand-painted blue flowers on the glass front form add to the border and give a 3-dimensional effect. The picture is between the cardboard backing and the glass front, with the metal frame holding them together. There is a metal chain attached for hanging the cover.warrnambool, flagstaff hill maritime museum, picture, handpainted, portrait, girl in blue cape, metal frame, round picture, illustration, print, holly, christmas, child in blue cape, silver and blue clasp, holly sprig, late 19th century, early 20th century, 1890s-1930s, victorain, edwardian, flue cover, flue cover art, wall art, chimney flue cover, chimney hole cover, stove pipe cover, fireplace flue cover, antique, victorian, glass frame, chromograph, lithograph, tin, brass, lithograph print, chromo print, christmas girl, blue cape, blonde girl

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.Royal blue crushed velvet hip length evening cape held at the front with large buttons of the same fabric and colour. The top has a wide rounded collarcapes, women's clothing, outerwear, evening wear

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.Black velvet capelet with pale blue lining held at the neck with a gilt metal clasp.women's clothing, fashion -- 1900s, evening wear, outerwear, capelets, fashion design

St John Ambulance Brigade in 1099 the Order of St John of Jerusalem began. Both men and women nursed on a large scale. Both the Knights and Ladies were pledged to the service on mankind. Ther Emblem the eight pointed white cross is still worn by members of the St John Ambulance Brigade. Miniature 30cm doll dresses on blue gown and long matching blue cape. Red insignia front of dress.Dame of Order of St Johnnursing history, nursing uniforms, northern district school of nursing, miniature dopll

Short cape (blue) with service ribbons, Gladys Lila Crawford VFX64863 (Part of U939)uniform, ww2

This commemorative framed print was a gift presented by Freemason, Worship Brother J. Wishart Junior, who also had the title of Worshipful Master of the Masonic Lodge from 1983-1954. This print was possibly presented by Wor. Bro. J. Wishart to the Masonic Lodge in Warrnambool the year following the coronation of Queen Elizabeth II, just after Wishart completed his term as the Worshipful Master of the Lodge. It is likely that the portrait was also part of the furnishings when one of Flagstaff Hill's village buildings was set up as a 19th century style Masonic Lodge, as shown in the map of the village in 1994 and was activated by a member of the Masonic Lodge. (Before this time the building was a Reference Library, and some time afterwards it was a Reading Library, and is now a Mechanics' Institute.) Australia is part of the British Commonwealth. Respect for the reigning monarchy of the colony of Australia has been shown here since colonisation and continued after Federation. Portraits of the reigning sovereignty have been displayed in public organisations, government departments and clubs over the years. Children in schools have been taught to 'Honour the flag, serve the Queen" (or King) etc. In February 1952 King George VI of England passed away. His daughter was proclaimed Queen, and crowned as H.M. Queen Elizabeth II on June 2nd, 1953, at Westminster Abbey, London. It is interesting to note that on 12th April, 1997, Warrnambool's Masonic Centre in Kepler Street held a 150 years celebration of the settlement of Warrnambool and District. A time capsule was inserted in the 'foundation stone' and one of the items inside it was a Flagstaff Hill Heritage Centre leaflet. The portrait of the coronation of H.M. Queen Elizabeth II and her continued reign of 70 years is significant, as it marks a very special occasion in the history of Britain and its Commonwealth. This portrait is similar to many other portraits of the Queen's coronation and is familiar to Australian citizens of the current generation and the ongoing link to Britain's colonasit6ion of Australia.Print, coloured, framed behind glass. Portrait of H.M. Queen Elizabeth II at her Coronation on June 2nd, 1953. The Queen is seated and wearing a white gown and white-trimmed blue cape. She is wearing a jewelled crown and holds the ceremonial Orb and Sceptre. In the background is Westminster Abbey. The decorative frame is cast composite or plaster. A card provided with the print advises that the print was presented by J. Wishart - it is attached to the reverse.Handwritten in ink on card "H.M.QUEEN ELIZABETH II / PRESENTED BY / WOR. BRO. J. WISHART JNR. / WOR. MASTER 1953-1954."flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, 2-06-1953, westminster abbey, scepter, orb, royal crown, coronation, queen elizabeth ii, hm queen elizabeth ii, royal portrait, h.m. queen elizabeth ii, worshipful brother, worshipful master, time capsule, 19th century style masonic lodge, warrnambool 150 years celebration, coronation of queen elizabeth ii, freemasons, j. wishart, flagstaff hill masonic lodge building, portrait

This uniform was worn by student nurses at the Hillcrest Psychiatric Hospital in Adelaide in the early 1970s. In 1964, Northfield Mental Hospital was renamed Hillcrest Hospital. .1) Mid pink waisted and darted uniform with a front pocket (with H H embroidered) on left breast and side pockets on skirt. Buttoned up the front, with three buttons on top and a placket with four hidden buttons on skirt. There is a hook and eye at the waist and a separate belt with two buttons and buttonholes. There is a collar and cuffed short sleeves, a back yoke and a center inverted pleat. .2) A lined (double layer) woollen royal blue cape with collar and neck tie and a hook and eye clasp.Embroidered on top pocket - H Hnursing, hillcrest hospital, student nurse uniform, nurse cape, costume, textiles, cape, uniform, hillcrest psychiatric hospital

Navy blue rayon slip with black lace overlay dress, round neck piped in navy blue rayon. Unlined cape sleeves.Anthea Crawford 14costume, female

.1) These capes were worn by student nurses when going on and off duty, when called to see the Matron or senior nurse (but never worn on duty). They were made of unlined woollen fabric and were wrist length and worn by Alfred Hospital student nurses until 1992.This nurses cape was made before 1970 as Ball & Welch Ltd was bought out in 1970. .2) RANF was between 1971-1988. In October 1975 the Royal Victorian College of Nurses amalgamated with the RANF Employees' Section and became the new Royal Australian Nursing Federation. .1) Machine stitched light blue pure wool cape with stitched down shoulder epaulettes. Around the neckline is stitched cotton bias binding which is hemmed by hand. Hook and eye fastening. .2) Badge pinned to left hand front Badge - Student Nurse Unit R.A.N.F.nursing, alfred hospital, student nurse cape, woollen cape, royal australian nursing federation, ranf, badge, ball and welch, costume, textiles

Alice McGREGOR Born: 1908; unknown parents. Possibly adopted by the Salter family? Electoral Roll 1936: Highland Terrace Kangaroo Flat. Alice Mary Salter and William Robert Salter living together; presumed to be sister and brother. William Robert Salter was killed in a MVA in Bendigo in 1937 aged 26. In Victoria in 1938, Alice Mary Salter married James Thomas McGregor (born Victoria 1917, died Victoria 1983, buried Fawkner Cemetery) Lived: 1968; 22 Wade Street Golden Square Alice McGregor Died: 1999 aged 91 at Anne Caudle Centre, Bendigo Buried: Kangaroo Flat Cemetery See additional research. Postcard Album of Alice McGregor contained 86 post cards.Postcard Album of Alice McGregor containing 86 post cards. See 1400 Studio colour photo of Miss Mary Studholme in a blue dress and white cape wearing a blue hat. Addressed to Miss Stapleton, The Arcade, Bendigo Sender - H. C Undated postcard, collector, alice mcgregor

This dress was made for the Melbourne Show in 1993 and won 3rd prize. It was designed by Jean Inglis who was inspired by the Blue Triangle Butterfly (Scientific name: Graphium sarpedon choredon). The Warp was 2/24 commercially brought black wool with a “tie down” thread of black polyester and Weft of the same 2/24 wool 2 ply. Jean utilised a twill technique devised by Theo Morgan in creating the dress. The dress was handwoven by Jean Inglis with the help of Ruth Rondell with some of the pattern and final sewing. Black dress stretching from below the knees, reaching up to the neckline and down to the hands in the sleeve. The dress has three butterflies attached to the front approximately 50mm in diameter going from right knee to left hip in a nonvisible diagonal line. Lower half of dress has ten thin blue & green lines of varying lengths, reaching a max height of the hip. The neck of dress has four frills of blue and green colour. The longest two frills are in the centre pointing diagonally outwards towards the hands. The second layer of frills is shorter and further around the neckline towards the shoulders. The dress is completed with a cape of blue and green colour with a thick black seam separating each segment of colour. The cape sits on the shoulders and droops to a height of the hips. At the rear, the cape reaches the height of the rump. The cape has two draw strings for tying to the shoulders. wool, butterflies, melbourne show, butterfly

Published: The Age 10 December 1934 Published title: RELIGIOUS PAGEANTRY AND FERVOR MARKED CLOSE OF EUCHARISTIC CONGRESS. Published caption: Thousands of men and women marched in the Eucharistic procession yesterday which brought the Congress to a close. The picture above shows the procession headed by the Children of Mary in Bourke-street and turning into Spring-street, in front of Parlia ment House. Right (top) — The procession leaving the starting point at St. Patrick's Cathedral and below, the Papal Legate carrying the Host under a canopy borne by a guard of laymen and preceded by white-clad girls scattering rose leaves, incense bearers and the Papal Chamberlains in their Spanish uniforms. The end of the procession in front of Mount St. Evin’s Hospital from which the final benediction was given by Cardi nal MacRory from an altar on the bal cony. The Papal Legate carrying the Host is passing through the assemblage of surpliced priests. On the left is an aerial picture taken just as the Children of Mary at the head of the procession are taking up their places for the final assembling. In the left top corner of the picture is St Patrick's Cathedral, from which the procession started, and in the right lower corner is Mount St. Evin’s Hospital. The space immediately in front of the hospital was reserved for the processionists while on either side is the crowd that assembled to take part in the final service. Trove article identifier: http://nla.gov.au/nla.news-article205067634 Religious pageantry and fervour The National Eucharistic Congress took place from Sunday 2 to Sunday 9 December 1934. An initiative of the Roman Catholic Church, it was their contribution to Melbourne’s Centenary Celebrations. 200,000 Catholics resided in Melbourne at this time – one quarter of the city’s population. While the Congress was aimed at Catholics, and acted as an opportunity to reinforce their living faith and homage, it contained a variety of events of splendour, solemnity and significance designed to appeal to Melbournians, and would additionally provide incentive for people to travel to Victoria, thereby creating an economic benefit to the state. The Procession of the Blessed Sacrament concluded the week-long Congress. Commencing at St Patrick’s Cathedral, it covered a two-mile route via Gisborne, Collins, Elizabeth and Bourke streets, then to Victoria Parade, where a final benediction was pronounced by Cardinal MacRory from the balcony of Mount St. Evin’s Hospital (today the site of St Vincent’s Private Hospital). An estimated 100,000 took part. Onlookers line Swanston Street, some standing at the entrance to Tate’s Tea House – a well-known Melbourne landmark located in the basement of the Manchester Unity Building. The white-veiled Children of Mary Sodalists strew rose petals in the path of the canopy, covering the jewelled Monstrance containing the Blessed Sacrament of consecrated Host (bread) and carried by the Cardinal. Church hierarchy in scarlet robes walk alongside, followed by incense bearers, the Papal Chamberlains in their Spanish uniforms, and a guard of honour of laymen of the city and country parishes. In the foreground is a tiered pole. This is one of 800 “Venetian Lights” specifically installed for the Centenary along all principal thoroughfares. “The poles are painted white, the superstructure resembling three trumpet lilies are made of durable fibro-cement, and their colour scheme deepens from clear yellow on the top cone to orange on the lowest, with slender rims of vermilion and white. Each cone is flooded with light externally from three lamps concealed in the one below it. There is also a painted coat of arms from which spring a trophy of flags.” – Australian Home Beautiful Featured in "Newsworthy: Melbourne in photographs 1933-1936" exhibition at East Melbourne Library, October to December 2023. Exhibition caption by project volunteer, Louise McKenzie. Research by project volunteer, Louise McKenzie: This photo was taken on Sunday 9 December 1934, looking from the Melbourne Town Hall (corner of Swanston and Collins streets) across the road to the Manchester Unity Building. This is the afternoon procession concluding the Catholic Church’s National Eucharistic Congress in Melbourne - a procession of the Blessed Eucharist through the Melbourne city. It commenced at St Patrick’s Cathedral, and covered a two mile route via Gisborne, Collins, Elizabeth and Bourke streets, then to Victoria Parade where a final benediction was pronounced by the Cardinal from the balcony of Mount St. Evin’s Hospital (present day St Vincent’s Private Hospital). An estimated 100,000 took part in the march. The people lining the streets a men in suits and hats, women in coats and hats, and children in their “Sunday best”, kneeling beside the road, many with their hands clasped in front of them. The small girls ahead of the canopy covering the Host are pale-blue clad, white veiled Children of Mary Sodalists, who strew rose petals to pave the way of the Cardinal carrying the jewelled Monstrance (Blessed Sacrament of consecrated Host (bread)), together with church heirarchy wearing scarlet robes. Behind came incense bearers and the Papal Chamberlains in their Spanish uniforms, followed by a guard of honour of laymen of the city and country parishes. The Children of Mary Sodalities was a religious body which aimed at fostering in its members an ardent devotion, reverence, and filial love towards the Blessed Virgin Mary, initially embracing the pupils and orphans of the schools and institutions of the Sisters of Charity of St Vincent de Paul. In 1847, Blessed Pius IX affiliated them to the Jesuit Roman Sodality. They were distinguished by a medal suspended from a blue ribbon, and once a fully-fledged a Child of Mary wore a distinctive blue cape. On the extreme right foreground of the photo can be seen an intriguing piece of artistic design – a tiered pole. This is one of the 800 “Venetian Lights” specifically installed for Melbourne’s Centenary along all principal thoroughfares. “The poles are painted white, the superstructure resembling three trumpet lilies are made of durable fibro-cement, and their colour scheme deepens from clear yellow on the top cone to orange on the lowest, with slender rims of vermilion and white. Each cone is flooded with light externally from three lamps concealed in the one below it. There is also a painted coat of arms from which spring a trophy of flags.” Note the sign for Tates Tea House - a well-known Melbourne landmark, located in the basement of the Manchester Unity Building. References: RELIGIOUS PAGEANTRY AND FERVOR MARKED CLOSE OF EUCHARISTIC CONGRESS. (1934, December 10). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved September 14, 2023, from http://nla.gov.au/nla.news-article205067634 Eucharistic Congress (1934, December 1). The Argus (Melbourne, Vic. : 1848 - 1957), p. 11. Retrieved January 23, 2024, from http://nla.gov.au/nla.news-article10997817 National Eucharistic Congress, Melbourne. (1934, December 6). The Catholic Press (Sydney, NSW : 1895 - 1942), p. 28. Retrieved January 23, 2024, from http://nla.gov.au/nla.news-article104371824 'The year of the Melbourne Eucharistic Congress: 1934.' The Campion Society, https://campion.australiancardijninstitute.org/ch-7-the-year-of-the-melbourne-eucharistic-congress-1934/ 'Melbourne Eucharistic Congress 1934.' Panoramic photograph, https://emhs.org.au/catalogue/emdf0123 The National Eucharistic Congress, Melbourne, Australia December 2nd-9th, 1934. Edited by Rev. J.M. Murphy and Rev. F. Moynihan, The Advocate Press, Melbourne. 'Children of Mary Sodalists', Wikipedia, https://en.wikipedia.org/wiki/Sodality_of_Our_Lady 'Dressing Melbourne for the Duke' (1934, October 1). The Australian home beautiful : a journal for the home builder, p. 21, 58. Retrieved September 14, 2023, from http://nla.gov.au/nla.obj-2950922209 Photographer notations on slide: "Eucharistic Congress Procession on Swanston St B61" [sic - actually Collins Street].events, religion, parades, catholic church

From title page - "British Enfield Rifles/ 2nd Edition, Revised/ Volume 4/ Pattern 1914 and / US Model of 1917".Soft cover book Cover - cardboard, black, blue and red colour print on front, spine and back. Illustrated - front, colour photograph of firearms, with background, red, white and blue flags. 155 pages, cut, plain, white colour paper. Illustrated - black and white photographs and diagrams.publication, books, british enfield rifles, reference book

Refer Cat No. 1280 "Jack GRINTON No 1043", 38th Bn - Refer Cat No. 1280 for his service history.Story Board - framed. Storyboard - black print on white and pale blue background on synthetic paper adhered to backing board. Illustrated - three black and white photographs, one colour photograph and copy of - handwritten letter on yellow paper. Frame - metal with wood backing board."A CAMERA ON THE SOMME" "Trip of a Lifetime" Photographs; Top left: in colour "Postcard sent by Jack Grinton to his family, Cape Town, 5 July 1916" Top right: "Paris Opera, France 1919". Middle right: " La Madeline Church, Paris 1919" . Bottom right: " Jack Grinton with captured German Artillery, Paris 1919". Handwritten letter: "From Jack".framed accessories, camera on the somme, ww1, 38th bn, grinton

Attached to the brochure re Korean War Veterans Memorials Cape Cod, MA..1) Brown, round medallion that is imprinted on front with printing & figure of soldier. Back is imprinted with print & 2 small enamel bars, one blue/white the other white. .2) Korean War Veterans memorial brochure. Front around outside: “FREEDOM IS NOT FREE 1950” Back around outside: “KOREAN WAR VETERANS ASSOCIATION, CAPE COD & ISLANDS” Centre: “KWVA”medallions, korea, 1950.53

Post card Boer War sent from South Africa by Otto J LUCKWALL, 5th Vic Mounted Rifles to his sister. Otto was from Bendigo. The card has pressed leaves & photo inside. Fawn cardboard two page folded card with gold lettering on front. Sepia photo inside front cover of camp scene with soldier standing on guard with rifle. trenches in foreground, Three pressed leaves inside. Back cover with red, white & blue bow joining the leaves at their stems.Printed on cover: “Everlasting Silver Leaves From Table Mountain Cape Town South Africa” On L leaf: “Loving Greetings” On R leaf: “To my dear sister” cards, boer war, silver leaves

Cape worn by CAPT. L. ELLIOTT as part of her nurses uniform.Red woollen material, elbow length cape, with two metal (silver coloured) buttons to hold the shoulder epaulettes. Silver buttons imprinted with crown and lantern. Cotton label back lower edge of garment. Refer Cat No 4308Printed on cotton label in black ink and handwritten in blue ballpoint pen. “C. G. C. F. / VICTORIA / 1971 / (upwards arrow) / Ball SIZE - OS / 8410.66.013.0771 / ARMY / No F236731 / NAME ELLIOTT”’cape, military, nurse

.1) Navigator's Log Book, hard cover, blue colour buckram with dark blue paint on front cover. Back end paper includes a pocket for maps & has a Conversion Table & Nautical Miles, Statute Miles, Kilometres, tables in black print on beige paper included. Stiff card divider. .2) Map folded, black printing on beige paper. Gibraltar Scale 1:1,000,000 at 56 degrees N. .3) Map folded, black printing on beige paper. Algeria Scale 1:1,000,000 at 56 degrees N. .4) Pencil grey lead, timber colour. Stamped into pencil: HB Commonwealth of Australia..1) Hand written in black ink on front end paper: Wreck at Cape Juby. In pencil: S2 / MZ / W2 / 1Z . 35N .2) Hand written in blue pencil: Atlantic. Blue & red ink & lead pencil notations over map. .3) Hand written in blue pencil: Mediterranean. Blue & red ink numerous notations over map.documents - maps/records, military history, passchendaele barracks trust

Items relate to Jack Grinton No 1043, 38th Batt AIF. The postcards document Grinton's visits to various UK, French and European sites of interest. The ephemera in the last section include booklets, sketches, souvenirs, programmes, paper money, photo wallets, letters, pay slips and Grinton's discharge certificate. Part of the Grinton Collection which included hundreds of negatives and developed photos taken by Jack Grinton during WW1. Refer Cat No 1280 for service details. See also 1291.2P and 4528.2P. Black three ringed plastic folder in a rectangular black plastic box. Folder is divided into labelled sections each of which contains a number of postcards and assorted ephemera. Postcards and ephemera are housed in clear plastic pockets. A handwritten label is taped to the spine of the box..1) Each section divider is labelled in blue ink: 'P/Cs CAPE TOWN', 'P/Cs ENGLAND & SCOTLAND', 'P/Cs FRANCE & EUROPE', 'ASSORTED EPHEMERA' .2) On spine label handwritten in blue ink: 'POSTCARDS - Sth AFRICA, UK, FRANCE, ASSORTED EPHEMERA, JEAN GRINTON'. 38th battalion, books - albums, western front, john 'jack' grinton, grinton collection

Textiles. Cream and blue tablecloth. Two hemmed sides. Two selvedge sides. Cream centre with 9.5cm blue border on all sides. Centre circular pattern (18cm diameter) of a wreath with horns, reindeer heads and rope pictures. In each corner of the centre cream section is a male seated figure dressed in Scottish kilt and cape. On either side he has an arm draped over a hunting dog resting beside him. In each corner is a circular emblem with the words "Deer Stalking" written on the top edge.textiles, domestic, tablecloth

Shield shaped with a tiny .25 cm crown at the top (Red enamel and brass). Below the crown is blue enamel with the words BLOOD DONOR in gold coloured lettering. The lower section has a red cross on a white background. An enclosed "pin fastener" on the back of the badge. (Has been attached to the collar of Merryn Ellisonn's nursing cape (ie. Phillip Ellison's sister). Nursing uniforms and badge worn by Merryn Ellison. (Daughter).numismatics, badges - civil, blood donor badge

The Crimson Rosella is native to Australia and located in Queensland and South Australia. Australia has a diverse range of rosellas, but the crimson rosella is easily recognised by the red body and blue cheeks. These birds are friendly to humans and consume seeds, insects and some blossoms. They nest in high trees, preferably eucalyptus. Typically, a crimson rosella should have far brighter colours than the specimen collected. This specimen has also been documented as having a light blue or black beak. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Crimson Rosella has a red feathered chest and cape across the head and blue cheeks besides the bill. The tail and wing feathers are mostly black with blue around the edges. The head is angled slightly to the specimen's left. This specimen stands upon a wooden platform and has an identification tag tied around its leg.78a. / Rennauts Parakeet / See Catalogue, page 22 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, bird, california, australian native bird, crimson rosella, rosella, reynell eveleigh johns, platycercus elegans

The Victoria Tower made landfall after a voyage of 85 days from Liverpool, and headed towards the Port Phillip Heads pilot boarding ground. It had been an uneventful voyage despite some contrary headwinds (causing the long voyage) and problems with the compasses, that could not be relied upon. The weather was hazy, with gale force winds and heavy rain squalls. Reaching the pilot ground Captain Kerr fired rockets and burned blue lights to attract attention, but met with no response. Sighting the Cape Shank lighthouse he sailed towards it, then wore the Victoria Tower onto a port tack in a westerly direction. No soundings nor observations were taken, as Captain Kerr was confident he was on a safe course and knew his position tolerably well. Slatted wooden cabin door with 2 locksPatent disk on top lock, W2 SR on either side of coat of arms. Number 60 in the middle and 1A carpenter patentee underneathdoor, cabin, victoria tower, shipwrecks

The fictional novel “Our Mr. Wrenn: The Romantic Adventures of a Gentle man” was written by Sinclair Lewis. It was originally published in America in 1914 by Harper & Brothers. It was the first of Sinclair Lewis’ novels published in his real name. His first published book, “Hike and the Aeroplane was” published in 1912 using the pseudonym of Tom Graham. Flagstaff Hill’s copy of “Our Mr. Wrenn” was published in 1930 by Jonathan Cape of London. About SINCLAIR LEWIS (1885-1951) The author was born Harry Sinclair Lewis in 1885 in Sauk Centre, Minnesota. He was renowned as an American novelist, playwright and short story writer. His first writings were romantic poems and short stories. Six of his novels were published by the time Lewis was 36. Lewis won the 1926 Pulitzer Prize for his book “Arrowsmith” but declined because he had been helped in the writing of it by science writer Paul de Kruif, who received 25% of royalties on the sales. However, Lewis is listed as the sole author. Lewis received the Nobel Prize for Literature in 1930 for his “vigorous and graphic art of description and his ability to create, with wit and humour, new types of characters." He was the first author from the United States to receive this award. Lewis graduated from university in 1907. He worked as a reporter and editor for several publications. He was a prolific writer, publishing dozens of works and numerous articles, and became popular for his satire. Lewis married and divorced twice and died alone from a heart attack due to advanced alcoholism) near Rome on 10th January 1951, aged 66. This book is part of a large group of books referred to as the Pattison Collection, which belonged to the Warrnambool Public Library, part of the Warrnambool Mechanics’ Institute. About RALPH ERIC PATTISON and the ‘PATTISON COLLECTION’ The ‘Pattison Collection’ is a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the WMI was led to ask the City Council to take it over in 1911 due to a lack of financial support. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Public Library as it was then called. Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up a home in Warrnambool. In 1935 when Pattison accepted the position as City Librarian for the Warrnambool City Council his huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower areas of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentle man whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave from 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service because he had gone over the working age of council officers. However, he continued to take a very keen interest in the continual development of the Library until his death in 1969. THE NEW WARRNAMBOOL LIBRARY When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Pattison. Eventually, the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself.Lewis’s book is significant for its association with the writer, who was the first American to be awarded the Nobel Prize for Literature (1930). This book is also significant for its connection with the Pattison Collection which, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. Title: Our Mr. Wrenn: the romantic adventures of a gentle man Author: Sinclair Lewis Publisher: Jonathan Cape, London Date: 1930 Hardback board book covered with red linen, spine reinforced with blue. The author’s name is embossed in gold on the front cover. On the spine is a handwritten title and author, and a white adhesive label with a typed library call number. Inside the front cover are pasted labels and stamps. The book is part of the Pattison Collection originally belonging to the Warrnambool Public Library. It was once held by the Warrnambool Mechanics Institute and Free Library and the Corangamite Regional Library Service.Label on spine cover with typed text “PAT / FIC / LEW” Black handwriting on the spine “Our M- Wren” and “s. Lewis” Pastedown front endpaper has a label from Warrnambool Mechanics Institute and Free Library, covered by another from the Corangamite Regional Library Service Front loose endpaper has a stamp from Corangamite Regional Library Serviceflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool public library, warrnambool mechanics’ institute, ralph eric pattison, warrnambool books and records, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool children’s library, american novel, jonathan cape, harry sinclair lewis, sinclair lewis, tom graham, 1930 nobel prize for literature, sinclair lewis’ debut novel, fiction, romance, our mr wrenn