Showing how tramway electrical current was returned to the electrical sub-station via the rails.Demonstrates an earth return bonding piece.Traction Return Current Rail Bond, consists of a multi strand copper cable abt 19mm dia. and 530mm long, with block of steel (25x25x43mm) brazed onto each end. The block of steel gets welded to the outside of the rail head at or near a joint in the rails. The bond is to ensure a reliable return current as the fishplates and bolts are subject to dirt and rust which can inhibit the current.tramways, electrical engineering, earth return, bonds, trackworks

This probably was used with single telephone cable earth return in WW1.This is a circular metal cable drum. The centre 'axle' is made a cylindrical piece of timber. It in turn, has a square metal bearing. This square metal bearing has a square hole in the centre 15 x 15 mm. This is held in place with 4 slotted screws. There is a small length of rubber covered cable exiting from one side of the drum. It is a 5 core cable. In the wooden drum is a metal sleeve. It can be slid around to reveal a metal screw terminal.On the side that has the cable exit can be seen, "HEARL & HEATON & SONS LTD 11 1918" ww1, cable drum

Yields information about the problem of electrolysis in Ballarat due to poor track joints and other problems., Yields information about the problem of electrolysis in Ballarat due to poor track joints and other problems.Carbon copy of a typed memo from the Works Superintendent to the Branch Manager of the SEC Ballarat regarding Electrolysis - poor earth return and the possible reasons for this. Memo suggests that track welder should be trained to test and the time and cost to test and repair the system. Memo dated 18/8/1966. On rear has various notes in ink. Was located with item 3701 - 1967 Trackwork diary.trams, tramways, sec, trackwork, electrolysis, welding

Drawing prepared by C. Cosgrove, Superintendent May 1910 for the Electric Supply Co of Victoria Limited - Tramways showing the electrical connections for the control circuits for both power and braking notches for an electric tram. Controller has 5 series steps, 3 parallel steps and 7 braking steps. Drawing titled - "Simplified Plan & Connections from Trolley to Controller, motors and to Earth" Shows trolley pole, switches, controller handle and electrical paths. Has two pencil notations - No. 2 end canopy switch and note on the earth return through axles etc. Drawing has darkened with age. Possibly used for training itself.Yields information about the controllers ESCo was using at the time of the drawing, possibly used for training purposes. Has a strong association the person who prepared the drawing.Drawing has been prepared by hand on a sheet or paper and adhered to a very heavy cardboard, or has been prepared on the cardboard itself.Two pencil notations - as above.esco, controllers, training

Megger as the device was called, is in fact its brand name. It is a device that supplies a DC (direct current as per car batteries) voltage to enable testing of electrical apparatus. This particular device produces 250volts DC when the handle is turned vigorously. If an electrical device, such as a kettle or toaster, blew a fuse or tripped a circuit breaker, when switched on, then it must be checked electrically before any more use. Following the repair of the faulty item a megger would be used to check if either of the AC 240volt plugs leads were touching the metal case (earth). The output leads of the megger would be connected with one to the earth (metal case) and the other to each of the power connections in turn. A good megger reading of 50,000 ohms (resistance) would enable the device to be returned to service. A reading of zero ohms resistance would mean that it would again blow a fuse, and was therefore unsafe to use. In the electrical industry e.g. the former State Electricity Commission, a megger would be used to test lots of similar item in sequence. Because of the vigorous job of winding the handle, two persons were often used to save time. One would crank madly whilst the other shifted the leads. This particular megger is of a small voltage, but other meggers are bigger and have a few ranges of DC voltages able to be selected. The optimal megger for large Generating machines was motor driven megger. This was applied to the device being tested for a duration of approximately 30 minutes with reading of the resistance taken at regular intervals.All equipment belonging to the State Electricity Commission of Victoria was labelled with a metal plaque attached to it. The SECV constructed the Kiewa Hydro Electric Scheme in the Upper Kiewa Valley and on the Bogong High Plains. The scheme began in 1938 and finished in 1961 when this megger was used and also possibly later as the SECV remained to maintain and operate the Scheme. This megger is of significance in relation to the advancement of technology.A rectangular box in dark brown bakerlite casing. It has an agent's plaque fixed to the left of the face and on the right is the marker's recessed stamp. In the middle in a transparent window so the level of ohms can be read. The front also has two recessed fixing knobs in black. On one side is a crank handle with a knob that lifts up and is turned vigorously to create the voltage. The back has four recessed screws and four small leather pads. There is a hole on each side to insert wires. There are two copper insulated wires. The SECV Plaque states: State/Electricity Commission/of/Victoria/ Electrical Engineer's Section/ No.1747 The Agent's Plaque states: H. Rowe & Co. Pty Ltd/Melbourne & Sydney/Sole Agents/in Australia for/Evershed & Vignoles Ltd Maker's states: 500 volts/Megger/Regd Trade Mark/Made in England/Patent No/400728electrical meters, electrical equipment, fuses, safety, state electricity commission of victoria, mt beauty, bogong village

Arthur William Glass known as Peter was born August 28, 1917. During the 1930s, Peter Glass and a young Graeme Bell were studying painting under Max Meldrum. Graeme Bell at that time was undecided whether to devote his life to music or painting. In 1938, inspired by what they had seen at 'Montsalvat', Peter Glass along with Graeme and Roger Bell (whose names were to become internationally known as the leaders of Australia's most famous jazz band) agreed to purchase land at Eltham to build themselves a mud brick house. For some time, Eltham had been their chosen place for painting and sketching, but it was not until they visited the 'Jorgensen Colony', as it was then known, and saw the possibilities of building in earth, that they decided to establish a permanent base in Eltham. In July, the three of them bought a few acres of land at the top of John Street and started making mud bricks for a proposed sixty square sized house. Following the Second World War, Peter Glass returned in 1946 to live permanently in Eltham. He resumed work on building of the adobe house which he had commenced before the war. During some years spent in England and France he married a French girl and on returning to Eltham he built another adobe house in which he lived with his wife, Cecile Madeleine, and two children, Julian and Marie-Luce on land adjoining the original house. Peter Glass died in December 1997 aged 80, his wife Cecile in 2006, aged 79. They are memorialised in Eltham Cemetery. Much of the inspiration for his landscape painting comes from the Eltham bush and the Yarra flowing through it.oil on chipboard 33 x 40.5 x 1.0 cm Signed 'Peter Glass in red paint lower right of centre Evidence of some paint rub-off at edges from previous frame mounting (frame removed).Reverse side painted in pale yellow cream and inscribed: 'Summer Landscape - 1968 Kangaroo Ground' in black paint1968, arthur william glass, artwork, kangaroo ground, paintings, peter glass

Considered the best of the early mud-brick houses built by Alistair Knox. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p143 The Busst house hidden by trees at the corner of Silver Street and Kerrie Crescent is considered the best of the early mud-brick houses built by Eltham architect, Alistair Knox. Knox himself said, that the Busst house was the most mature mud-brick house designed at that period. ‘It related with true understanding to its steep site and expressed the flexibility of earth building ………to develop a new sense of flowing form and shape’. Built in 1948 for artist Phyl Busst, a former art student at Montsalvat, the house helped usher in Eltham Shire’s distinctive mud-brick residential character. Knox was the pivotal figure of the style developed from the 1950s to the 1970s. Scarcity of building materials after World War Two encouraged mud-brick building because earth was a cheap and plentiful building medium. But when Knox began building in mud-brick in 1947, no council in Victoria knew anything of this ancient art and he needed a permit. Fortunately the Commonwealth Experimental Building Station at Ryde in NSW, had been experimenting with earth construction to help overcome the shortages of that time. They published a pamphlet that became available in Melbourne on the same day the Eltham Council was to consider whether the earth building should be allowed. Knox caught one of the three morning trains to the city in those days and bought several copies of the pamphlet to give to each councillor. On his return he found the councillors standing on the steps of the shire offices after lunch at the local hotel. He heard that earth building had been discussed before lunch and that they were not in favor of it. Knox gave each councillor a pamphlet. They passed that plan and by doing so, opened the door for all future earth building in Victoria and by default, in Australia. Mud-brick houses attracted artists to Eltham, for their aesthetic appeal and because they were cheap. Those who built their own houses, included film maker Tim Burstall, artists Peter Glass, Clifton Pugh, Matcham Skipper, Sonia Skipper and husband Jo Hannan. For Knox, mud-brick building was more than just a cheap building medium. He saw it as harmonising with the surrounding bush and as a way of counteracting the growing materialism of the age. He wrote of its impact on ‘ 20th century man. It should counteract the confusion that the perpetual flow of high technology products have upon him ..’ Building the Busst house on a steep site was difficult because most earth-moving equipment was then in its infancy. For instance drilling for explosives was done by hand, which was a slow and painful process. Knox, assisted by his foreman Horrie Judd and Gordon Ford (who was to become a famous landscape designer), built two large main rooms - a living room/ kitchen downstairs - and upstairs, a studio/bedroom. The studio/bedroom opens onto the balcony, which covers the living area. The bath made of solid concrete by stonemason Jack Fabro, is particularly deep. Sunshine pours through the three French windows of the north-east facing kitchen/living area, which is lined with timber. The large hearth can fit a family around the fire while the timber floors and solomite (compressed straw) ceilings add to the cosy atmosphere. The garden is thick with trees, and in the late 1990s, Ford put in a pool near the original dry wall he had built as a young man.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, alistair knox, alistair knox design, busst house, kerrie crescent, mudbrick construction, mudbrick houses, silver street

ill, notes, p.234.non-fictionThe dark clouds returned and gathered about the boy. His eyes grew distant, and he began to tremble. He heard not only shells exploding, but the cries of dying men . . . He was stumbling over churned earth, looking into the face of an officer, bloodied red as the poppies, ripped apart in the Flanders mud . . . A small boy, an orphan of the First World War, wanders into the Australian airmen's mess in Germany, on Christmas Day in 1918. A strange boy, with an uncertain past and an extraordinary future, he became a mascot for the air squadron and was affectionately named 'Young Digger'. And in one of the most unusual incidents ever to emerge from the battlefields of Europe after the Great War, this solitary boy was smuggled back to Australia by air mechanic Tim Tovell, a man who cared for the boy so much that he was determined, however risky, to provide Young Digger with a new family and a new life in a new country, far from home.world war 1914-1918 - children - biography, henri tovelle

The article was contributed by J.K.McCaskill, JP. a mayor of Ringwood in the years between 1924-1951.The Sanders family came from England and are mentioned in the book "Ringwood a Place of Many Eagles" by Hugh AndersonObituary from The Ringwood Mail of Joseph Richard Sanders of 18, Wantirna Road, Ringwood, aged 87 years. He came from a family who were early pioneers of Ringwood. he was born in Collingwood but schooled in Ringwood, married and brought up his family in Ringwood. He lived at 18, Wantirna Road .The article was contributed by J.K.McCaskill, JP. a mayor of Ringwood in the years between 1924-1951.Transcript: "The death occurred of Joseph Richard Sanders, 18 Wantirna Rd, Ringwood, on Wednesday, 21st October 1959, in his 87th year, marks the passing of another of Ringwood’s early pioneers. He was born in Collingwood in August 1873 and came to Ringwood with his parents when 15 months old. They made their home on land on what is now known as Jubilee Park (Fuller particulars of this Park will appear in ‘The Mail’ at a later date, also reference will be made to Wantirna Rd, in the early days it was known as West Prussia Rd). Joe went to the school held in the old homestead and orchard of Mr. Mills, just through the Heatherdale Road railway gates. He remembered many of the scholars, some of the boys and girls had to walk three and four miles to school through rough scrub paddocks in all kinds of weather. During the lunch hour a few of the boys generally went to the creek to fish for eels and would be late in getting back to school, greatly to the annoyance of the teacher. One day the fishing was good, and the boys rather reluctantly returned to the school late as usual. The teacher was furious and made them stand in front of the class but before inflicting punishment she called out to one of the boys to throw out that dirty bag he was holding. The lad gave the bag a shake and out wriggled a snake. There was immediately a general stampede from the classroom, led by the teacher. The school was closed for the rest of the afternoon. Another incident related to a few tramps who after the scholars had all gone home, generally camped for the night in an old back room in the homestead. One of the boys put a little gunpowder in this old fireplace and when the tramps lit the fire to boil their billies the old chimney and part of the old wall just collapsed. Joe, after leaving school, worked around the district for some time and later left Ringwood to live in other suburbs. He at one time was employed at the Aust Glass Works, and later as a carpenter worked on building the dome of the Railway Station at Flinders St. He married a Miss E. M. Wood in 1901 at Richmond and a few years afterwards returned to Ringwood and resided at No. 18 Wantirna Rd., where he reared a family' of three girls (Alice, Ethel, Joyce) and two boys (Robert and Joe). Joe recalled many interesting events of earlier years, such as the duplication of the railway line, and the cutting back of the embankment at the Goods Shed, the earth being used to heighten up the railway bridge over Wantirna Rd. The brickworks at Ringwood East and reference to early land surveys, the using of the heavy chain links before the use of the theodolite became general, and the many neighbours and friends whom he knew. He was interested in local public affairs and was fond of fishing. He proved himself a good citizen and was highly respected and esteemed throughout the district, and so another old pioneer passes on." (Contributed by J. K. McCaskill, J.P.) RM 19 Nov 1959

Kurt Winker was born in Germany in 1902 and was a survivor of the "Arandora Star". He was sent to Australia on the "Dunera" where he was interned at Tatura 1940-1945.A large white tree with bare limbs in centre of picture. There are fallen limbs at the foot of the tree. There are rows of other bare trees and other trees with green foliage as well as several tree stumps scattered among them. The sky and earth are sepia toned with a scattering of white fluffy clouds. Black and white coloured birds are in the sky and a black bird is perched on top of one of the branches of the tree. Walking in a line though the trees are eleven figures with red coats, black pant and white hats. Some are carrying axes on their shoulders. A soldier is on horse back riding beside them.kurwin, woodcutters

Leading surgeon and academic Sir Albert Coates (1895-1977) is one of Ballarat's most celebrated sons. A medical orderly during WWI, he returned home to become a pioneering neurosurgeon. A medical man in the worst of circumstances, Coates is often mentioned for his compassion and care in his role as a doctor in the Burma-Siam Railway POW camps. The bronze statue by Louis Laumen captures his down-to-earth nature. Laumen is a Melbourne sculptor who has completed many commissioned bronze public artworks around Australia.The statue is of aesthetic and historic significance to the people of BallaratBronze figure mounted on granite, amid garden plantings and plaques.Inscription details the life of Albert Coates.albert coates, medicine, pow camps

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby.Stoneware bowl with flange. Glazed in white matt crackle with a faint copper red tint. Dry black glazed rim. Gift of the artist.Robin Welch stamped on baseceramics, robin welch, gippsland, gppsland campus, jan feder memorial ceramics collection

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. Stoneware bowl on a tall foot. Calcium matt glaze, underglaze colour with underglaze metallic lustre. ceramic, jan feder memorial ceramics collection, robin welch, gippsland campus, mungeribar pottery, stadbroke pottery

"NEW CROSSLEY CHURCH. BLESSING AND OPENING CEREMONY. A lasting testimony to the faithful generosity of the Catholic community at Crossley was vouchsafed on Sunday last, when the beautiful new church of St. Brigid was formally blessed and opened, in the presence of a particularly large congregation of adherents of the Roman Catholic faith, and many supporters of the doctrines of other churches. The function was further enhanced by the presence of two noted Catholics in Dr. Higgins (Bishop of Ballarat) and Dr. Mannix (Coadjutor Archbishop of Melbourne.) Upon arrival at the church the prelates were received by a guard of honor formed by the members of the H.A.C.B. Society, and were introduced to the members of the local committee. Then his Lordship the Bishop formally blessed the exterior and interior of the building. The building is handsome and commo dious, and one that should suffice for the population of the Crossley district for many years to come. Standing upon the highest point in the vicinity it occupies a commanding position and is a prominent landmark for many miles around. At first it was intended to pull down the old church and erect the new one upon the space occupied by it, but subsequently the land adjoining was purchased, and the sacred edifice built upon it. The style of architecture is a free treatment of the Romanesque. In a short space of time the grounds and walks were transformed by working bees and made to conform to the beauty of the building. The interior is most artistic, and would be difficult to improve upon in elegance of design, while the furnishings are most appropriate, and harmonise excellently with the general scheme of decoration. It seats 400 people and in addition there is a choir gallery with a seating capacity of 60. The church is lighted with leaded Cathedral glass windows, and the front presents a pleasing appearance, the entrance porch being surmounted with a semi-Gothic window. The floor is tiled throughout. The ceilings are semi-circular in form, with beautiful designs worked in fibrous plaster. The brickwork of the structure is faced with cement, and it has a slate roof. It is undoubtedly an addition to the ecclesiastical buildings of the district, and was universally admired. The architect was Mr. A. A. Fritsch, of Melbourne, and the contractors Messrs F. and E. Deague, of North Fitzroy. On the doors being thrown open for the admission of the congregation, the seating accommodation was immediately fully taxed, and the lengthy service and sermon were listened to with the greatest interest and attention. Missa Cantata was sung, the Rev. Father Phelan, Koroit, being the celebrant. The musical arrangements were in the capable hands of Mr. Renwick, of Warrnambool, while Miss Logan presided at the organ. Mrs. Dan. Ryan was the soprano soloist, and sang Gounod's Ave Maria at the offertory very sweetly and expressively. At the consecration Rossi's Tantum Ergo was sung by Messrs Crowley and Renwick; Farmer's Kyrie Gloria and Agnus Dei and Webb's Credo were rendered during mass, and while the collection was being taken additional numbers were sung. The occasional sermon was preached by the Coadjutor Archbishop (Dr. Mannix), who based his remarks upon the Gospel for the day, St. Luke V., verses I to II, dealing with the miraculous draught of fish. On His return from Galilee Christ found that the fishermen had been toiling all night, and had caught nothing. He entered one of the ships, and addressed the multitude on shore. It was a beautiful picture, and no doubt he spoke to them about the kingdom to be established on earth. When He had finished speaking He told the fishermen to launch out into the deep. Peter said " Master, we have fished all night, and have found nothing." Still, they obeyed His command, and the nets were filled almost to breaking point. Having brought their ships to land they left everything and followed Him. In that lesson they had a symbol of God's dealing with men through the church He has established on earth. Their confidence was richly rewarded, and Christ founded His church upon those twelve Apostles. At that time the world was mostly pagan, steeped in iniquity and sin. The chosen people of God worshipped with their lips, but their hearts were far from it. When Christ wanted to estab lish His church on earth, and leave an organisation to carry on the work, did He select the most intellectual, or the most rich or powerful men? Neither did the time seem propitious. He selected twelve men who from a human point of view were quite incapable of accomplishing anything. What happened when the Jews put Him to death? The chosen twelve left Him at the critical hour, and when He came to die on the cross they were not there, but hid themselves from the hate and fury of the Jews. When the Holy Ghost came down upon them and strengthened them they became courageous and went forth at the bidding of their Master to teach all nations. Their success was not confined to the first meet ing after Pentecost, at which they made 5000 converts, but continued until the whole world had been brought into the net. It was surely a consolation to them as well as to him (the preacher), that they came from a land which of all others had been faithful to the teaching of Jesus Christ. The sons and daughters of St. Patrick had taken a great part in bringing men into the meshes of the church. It was due to the nation they belonged to that the church flourished not only in Ireland, but in England, Scotland, Ame rica, and Australia. It may have seemed hard that in the providence of God so many had to leave their homes and find a home in other lands. They had emi grated to the towns of England and Scotland, and had been the means of keeping the Catholic faith living in those places. In the United States and Canada many had made a home for themselves, and were always found faithful to God and to the true church. If to-day the Irish Catholics and Catholics of Irish des cent were taken out of the English and Scotch population there would be little left of the true Church of God. Perhaps they had not the learning of other nations. Certainly they had not the wealth of other nations, and not the power of the sword, but God was with them, and the faith they took from the old land nourished in the distant places. There was a time in Aus tralia when those opposed to God and God's Church thought they could rule Providence and make Australia a Pro testant land. They had lived to see whe ther God or His enemies are the more powerful, and the names of those who tried to stamp out the Catholic religion were forgotten, or only remembered be cause of their persecution. They had lived to see the glorious success which rested upon the Catholic Church in Aus-tralia, which the Irish people had built up stone by stone. Nowhere was it held in higher esteem than in these islands, and the people would always be faithful to God and His church. It was an inspira tion to go into the glorious church opened that day. It stood for loyalty and faith fulness and was a credit and a consola tion to the Bishop and people of the diocese, to the architect, and to the priests and the honest and zealous administrator of the parish. There was hope and an inspiration in that day's celebrations, and surely the Catholic faith would sink deeper and deeper into the people as time went on, and the progress of the last fifty years would be small as compared to the progress of the future. He congratulated the Bishop and priests who had raised that temple, and the people of Crossley upon their generosity and self-sacrifice. He prayed that the blessing of God and St. Brigid would rest upon them, their children, and their children's children. He hoped that not one of those who had received the sacrament at that church would be missing when called before the Judgment Seat, and that all would be counted into the enjoyment of eternal bliss. The Rev. Father Kerin then made a statement of the position of the finances, after which a special col lection was made towards the cost of the building. A list of subscribers of £l and upwards was read, to which Bishop Higgins contributed £250, Rev. Father Kerin £20, and the Coadjutor Archbishop £5. The amount totalled £1245 10s 7d. Pre vious donations totalled £1077 3s, and His Lordship gave an additional £250. An indebtedness of £3974 had been reduced by £1245, leaving a debit balance of £2728. The cost ot the church completed was £6250. They had broken the back of the debt, and were not frightened of it. It was also announced that the beautiful Stations of the Cross, which adorn the walls, had been donated by the following: Mr and Mrs. P. Crowe, Mr. and Mrs. T. Bushell, Mr. and Mrs. P. Gorman, Miss M. Dunne, Mr. Mugavin and Miss Mugavin, Mr. and Mrs. C. Conway, Misses A. and F. Broderick, Mr. and Mrs. Michael Hennessy, Miss K. A. M'Carthy, Mr. and Mrs. Wm. Dalton, Mrs. M. J. Greene, Mrs. and Miss K. Dwyer, Mr. and Mrs. John Mugavin, and the Rev. J. J. Manning. The new Estey organ was contributed by the school children, as the result of an enter tainment. Other donors of furnishings, etc., were Mrs. Brown, senr., (Kirkstall), and Mrs. James Maloney (Killarney), and Mrs. and Miss O'Donohue. The vestments were the gifts of Mr. and Mrs. M. Foley, of Killarney. The furnishings, carpeting, etc., of the sanctuary have been carried out by the Crossley Altar Society, of which Mrs. Jno. O'Brien is president, and Miss Mary Ryan secretary. In the course of a brief address Dr. Higgins expressed his deep indebtedness to the Coadjutor Archbishop for coming amongst them at a great sacrifice to assist in the ceremonies. He heartily thanked the people for their unbounded generosity, and congratulated priests and people upon the magnificent results of their efforts. They had an able champion in Dr. Mannix, who since coming amongst them had distinguished himself by his zeal for the church in this new land. He hoped he would be spared for many years to come to use his splendid talents in the service of the church. (Koroit Sentinel and Tower Hill Advocate, Saturday 4 July 1914, page 2)Digital images of the cathedral leadlight windowns in St Brigid's catholic Church, Crossley. st brigid's crossley, st brigid's, catholic church, catholic, church, religion, celebrations, christmas, christmas carols, carols, stained glass, window

Black and white negative, by Wal Jack, of S 166 in Barkly St West Footscray, near intersection with Blandford St. returning to Footscray with an X1 at the end of the double track. The two church buildings were still there 9/2020 on Google Earth, but had a temporary fence in front of them. In the Wal Jack Melbourne album, the date is 21-4-1945.trams, tramways, russell st, barkly st, footscray, s class, tram 166, mmtb

After the 1939 bushfires, the Forests Commission Victoria invested heavily in a radically new communications network. After suffering some inevitable delays due to the war, radio VL3AA switched into full operation in October 1945 proudly beaming out 200 watts across the State. But by today’s standards, the technology was primitive and the reception poor unless the user was on a high point somewhere. The radio signal was "line-of-sight" and bounced between fire towers and relay transmitters across the mountains back to the District offices. The advent of solid-state electronics in the 1960s replaced the more delicate valve sets which enabled greater use of vehicle mounted radios. The Commission continued to research, develop and build new radios at its many workshops around Victoria. The network was supported by a large team of skilled radio technicians. The more secure and versatile State Mobile Radio (SMR) digital trunk system came into operation in about 1995. Upgraded Tait Radios were purchased in 2014 after recommendations of the 2009 Bushfires Royal Commission. But it was the convergence of separate technologies such as 5G mobile phones, high-capacity and light-weight lithium batteries, Wi-Fi, the ever-expanding internet, cloud data storage, digital cameras, GPS, personal organisers and hundreds of supporting Apps into powerful smartphones and tablets which revolutionised bushfire communications from the mid-2000s. Manufactured in both UK and Australia, the 400 series telephone was developed for the PMG in 1957 based on the British, prototype, no.700, Bakelite phone. They became obsolescent by the early 1960s but because some magneto exchanges persisted in Australia for another quarter of a century and alternatives were not cost effective, PMG/Telecom regularly repaired or refurbished these obsolete phones until they were superseded by automatic exchanges. Used to communicate to remote fire towers Single wire (with earth return) often run through the bush from FCV district officesMagneto table telephone Christmas Hills South Instructions for use around winderbushfire, radios, forests commission victoria (fcv)