Found in the Curator's CottageBrass Troughton & Simms, London optical dumpy level on compass base. Made for Kilpatrick & Co, Melbourne. See B91.126 for photograph of student using it Circa1968.Troughton & Sims LONDON Kilpatrick & Co Melbourne No. 702surveying equipment, students, landscaping, artifact

Students Working in the Field Station (1) Digging trenches. Dumpy/Optical Level in foreground.(2) 2 students standing on metal ladders pruning fruit trees.students, field station, digging, trenches, pruning, fruit trees, dumpy level, optical level

A sensitive optical levelling instrument in a polished timber carry case. Instrument to be mounted on a tripod with 3.5 cm male thread. Matches Tripod Catalogue Number 4111.scientific instruments, level, contractors level, ballarat school of mines, surveying, mining

Adams jnr wrote many elementary scientific works, as well as on the use of mathematical instruments. He often combined in his written works with religious themes and scientific content, often against the prevailing thoughts of the time. According to one popular magazine of the time (Gentleman's Magazine), his works were often accused of "growing errors of materialism, infidelity, and anarchy". He started writing at a young age and developed a love for it, his main interests included math and science, these subjects he often expressed in his written essay's. Notable works from Adams are. An Essay on Electricity, and Magnetism (1784). Essays on the Microscope (1787). An Essay on Vision, briefly explaining the fabric of the eye (1789). Astronomical and Geographical Essays (1790). A Short Dissertation on the Barometer (1790). Geometrical and Graphical Essays, containing a description of the mathematical instruments used in geometry, civil and military surveying, leveling and perspective (1790). Lectures on Natural and Experimental Philosophy, in five volumes (1794).George Adams Sr and Jnr were both notable opticians and scientific instrument makers of the 18th century. Their contribution to scientific innovation and optical development cannot be underestimated. Having one of their early drainage levels in the collection and in extremely good condition is an asset to the Flagstaff collection.Drainage level or optical level. A brass surveying instrument with Achromatic telescope, bubble level and dial fitted to the Tribrach or footplate that has leveling screws. Tripod is wood and brass with adjustable and unscrewable legs (for ease of transportation). Made by "G. Adams Fleet St, London". Used in surveying and building to transfer, measure and/or set horizontal levels."G. Adams - London".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, george adams fleet street london, optical instrument, scientific instrument, technical instrument, surveyors level, george adams snr, projection microscope

Pentax AP-201 Automatic optical dumpy level without stand. In orange carrying case with strap. Used for teaching Arboriculture. See tripod (B25.0011) and Photograph in use (B13.0008) circa 1981.Pentax AP-201. PENTAX 229410. Made in Chinaarboriculture, teaching, levelling, auto level, artifact

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

Promoting the Graphic Design/Multimedia program being offered by the University of Ballarat at the Mt Helen Campus. Promoted course as "one of the smallest and arguably the best three year programs of its kind in Australia and the South Pacific region." The brochure lists student awards received including Platinum and Gold in the AGFA International Young Designer Contest, 1999; two meritorious awards in The Art Directors Club Student Awards, New York, USA 1999; Graphis New Talent 1999; two Gold in Souther Cross Packaging Awards, 1998. At time of publication, the School of Arts, Visual Arts reportedly had 210 students with majors in Graphic Design/Multimedia, Ceramics/3D, Painting, Drawing, and Multidiscipline. Minors studies included Printmaking, Photography, 3D, 2D, and Graphic Communication. ___ Course aimed to train "independent, flexible thinkers". The course promised to "Promote creativity, originality and imaginative thinking; Develop self-directed learners, displaying initiative in the formation of ideas and the confidence to construct personal responses; Develop appropriate conceptual, technical and professional skills; Develop the student's critical process: ability to undertake research, and to make informed decisions; Clarify thinking, concepts and understanding and deep knowledge, attitudes and skills enabling the designer to respond to community needs." Studio and working environment described as "one open space with working facilities for approximately 75 students across 3 year levels. The area is divided up into work stations where 1st, 2nd and 3rd year students intermix, allowing a natural interaction. These workstations are configurations of six, consisting of two students from each year level. This reinforces the area's ongoing development with an open ethos and cross-level delivery and learning. This maximises the use of information in order for it to be applied throughout all levels of the learning process, whilst allowing a natural mentor arrangment to be developed for all first year students, " "The open ethos approach also encourages students and staff to freely express their opinions in relation to design via cross-level critiques, whilst allowing for a liberal arts approach and structure to the development of the creative process." "Emphasis is placed on experimentation, innovation, expression and the development of the individual's design philosophies, concepts and style." Also notes the 24 hour access Macintosh laboratory, with 34 Power Macintosh computers, ratio of one for every 2.5 students. Each with a Fujitsu Dyna Magneto Optical drive for file storage and transport. Two Sharp scanners, Phaser Dye-Sublimation Extra Tabloid colour printer and Ricoh A3 colour printer. Two large format printers. Digital and video cameras. Software: Adobe Photoshop, Illustrator, Acrobat; QuarkXpress; Macromedia Freehand; Pagemaker; Premier; Director; 3D Extreme; Sound Eidt, Shockwave, Infinite 3D and After Effects. Approx 4.5 staff, "all of whom are practicing designers. They have a full understanding of industry requirements and trends which assists in the development of industrial contacts when specialists are required." Prospective students interviewed in late Nov/ early Dec, face to face. Present a "comprehensive folio of work", academic records, references. "Selection is determined by the perceived potential of the student, their motivation and reason for study within the field as well as their previous experience in the Visual Arts. Folio work should be representative of the individual's ideas and abilities. Qualities of importance are: originality, innovation, imagination, experimentation and a competent display of the basic skills associated with visual arts [evidence of drawing skills should be included]." Demonstration of GD/MM computer skills an advantage. Students also asked to bring sketch books. Promotional brochure for prospective students. 8pp Double fold brochureuniversity of ballarat, federation university, graphic design, multimedia, bachelor, degree

Probably used for surveying courses at the Ballarat School of Mines Boxed telescopic sight with longitudu=inal bubble level and a quadrant draduated in +- 40 in 100 22mm diameter. Female screw thread base. Push-Pull focussing. Housed in an hinged timber box.drainage level, scientific intstruments, ballarat school of mines, scientific instruments

Negretti and Zambra 1850-1980s were optical instrument makers and mathematical instrument makers based in London, England. The firm of Negretti and Zambra was established in 1850 by Henry Negretti and Joseph Zambra who had formed a partnership. Their skill was immediately apparent when exhibiting at the 1851 Great Exhibition at Hyde Park, they were the only English instrument makers to receive a prize medal for meteorological instruments, resulting in their appointment as instrument makers to the queen, Greenwich observatory, and the British Meteorological Society. In 1853, when the Crystal Palace was re-erected in Sydenham, Negretti and Zambra became the official photographers of the Crystal Palace Company, which allowed them to photograph the interior and grounds of the new building. The firm made use of this access to produce a number of stereographs. Between 1855 and 1857 Negretti and Zambra commissioned photographer Pierre Rossier to travel to China to document the Second Opium War. Although Rossier subsequently was unable to accompany to Anglo-French forces in that campaign, he nevertheless produced a number of stereographs and other photographs of China, Japan, the Philippines and Siam (now Thailand), which Negretti and Zambra published and that represented the first commercial photographs of those countries. In 1856 Negretti and Zambra sponsored a photographic expedition to Egypt, Nubia and Ethiopia conducted by Francis Firth. In 1864 Negretti and Zambra (themselves) photographed Shakespeare's House at Stratford on Avon. A sepia photograph was then pasted onto card 4" × 2.5". This was then presented to visitors to the Crystal Palace to enable them to compare it with the model erected by Mr E. T. Parr in the Centre Transept. The card itself is headed "Crystal Palace April 23rd 1864." That year they also published a book, titled A Treatise on Meteorological Instruments, (which was reprinted in 1995). Throughout World War One Negretti and Zambra were entirely engaged in the production of various instruments for the Ministry of Munitions. They developed many instruments for the Air Ministry including a mercury-in-steel distance thermometer for taking the oil and air temperatures in aircraft which was patented in 1920. In 1946 the company went private and in 1948 the company was made public, and by 1950 Negretti and Zambra had 821 employees in Britain. In order to increase production and to safeguard future development in 1964, they purchased a modern factory at Aylesbury for all their production. In 1981 Negretti and Zambra were taken over by a group of financial institutions in the form of Western Scientific Instruments and in 1985 the company was acquired by Meggitt Holdings.The subject compass is just one type of the many marine and scientific, optical items this company produced over it’s life time. Negretti and Zambra were prolific manufactures of types of items as well as being very prominent in photography pioneering new innervation's and sponsoring expeditions to little known countries to document peoples daily lives and culture through photography.Azimuth compass on tripod in a fitted wooden box with a round spirit level included, lid of box has three indented circles where the legs of the compass fit when it is set up for use. Stamped "C.M.O. 9" on with Maker Negretti & Zambra London.flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, azimuth compass, nautical instrument, negretti & zambra london, navigational instrument, compass

A small number of heavy cast iron weights and two rods remain at the Point Hicks Lightstation. These weights comprise one rod with a forked top and four circular weights attached to the bottom of the shaft. The weights and rods were part of the original clockwork mechanism that was fitted beneath the lens to keep the kerosene‐fuelled light turning. They were attached to a cable or chains and moved vertically in similar fashion to the way weights move on grandfather clocks. As the weight fell, the optic clock was driven and the lens was turned. To keep the clock turning, the weight needed to be wound back up to the top of its travel. The cables and weights in this lighthouse were visible as they moved through the length of the tower up to the lantern room. It was usual for systems to move inside a tube extending up to the top, but in this case the tower’s cast iron spiral staircase, which is supported on cantilever cast iron brackets set into the concrete wall, spiralled around the space in which they moved. Lighthouse keepers had the arduous job of having to constantly wind the clock to keep the light active, and at least two keepers needed to observe a strict roster of hours. When electric motors were invented, all of this became redundant and the motors were able to turn the optic for as long as there was power to drive them. In December 1964, the original 1890 Chance Bros kerosene‐fuelled light and clockwork mechanism were replaced by small electric motor, and the number of keepers reduced to two. The six circular weights and rods originate from the obsolete system and may have been part of a larger set. Wilsons Promontory retains seven of its original set of ten weights, all of which are detached from the tower’s weight tube. Cape Schanck has a set of fourteen weights remaining in situ as well as another four detached weights, which have inscriptions. One weight is displayed in the lantern room at Cape Otway. The image shows four of the clockwork weights attached to a rod with a forked top. They were part of the original clockwork mechanism that was fitted beneath the lens to keep the kerosene‐fuelled light turning. The Aldis lamp in its case sits on the floor next to the weights. Source: Parks Victoria.The Point Hicks weights have first level contributory significance for the insights they provide into the superseded technology and operations of a late nineteenth century lighthouse. They are well provenanced and are significant for their historic value as part of the lightstation’s Chance Brothers optical system installed in 1890. Four circular metal weights are stored on a metal rod with a forked section at the top. The weights have a cut out section which allows the weights to be removed easily.

A small number of heavy cast iron weights and two rods remain at the Point Hicks. The weights and rods were part of the original clockwork mechanism that was fitted beneath the lens to keep the kerosene-fuelled light turning. They were attached to a cable or chains and moved vertically in similar fashion to the way weights move on grandfather clocks. As the weight fell, the optic clock was driven and the lens was turned. To keep the clock turning, the weight needed to be wound back up to the top of its travel. The cables and weights in this lighthouse were visible as they moved through the length of the tower up to the lantern room. It was usual for systems to move inside a tube extending up to the top, but in this case the tower’s cast iron spiral staircase, which is supported on cantilever cast iron brackets set into the concrete wall, spiralled around the space in which they moved. Lighthouse keepers had the arduous job of having to constantly wind the clock to keep the light active, and at least two keepers needed to observe a strict roster of hours. When electric motors were invented, all of this became redundant and the motors were able to turn the optic for as long as there was power to drive them. In December 1964, the original 1890 Chance Bros kerosene-fuelled light and clockwork mechanism were replaced by small electric motor, and the number of keepers reduced to two. The six circular weights and rods originate from the obsolete system and may have been part of a larger set. Wilsons Promontory retains seven of its original set of ten weights, all of which are detached from the tower’s weight tube. Cape Schanck has a set of fourteen weights remaining in situ as well as another four detached weights, which have inscriptions . One weight is displayed in the lantern room at Cape Otway. The Point Hicks weights have first level contributory significance for the insights they provide into the superseded technology and operations of a late nineteenth century lighthouse. They are well provenanced and are significant for their historic value as part of the lightstation’s Chance Brothers optical system installed in 1890.PHLS0005.1 Round cast iron weight with flat base used for lens clock-work mechanism attached to a bent metal rod. PHLS0005.2 Removable round cast iron weight with flat base used for lens clock-work mechanism stored above the other weight.

Was the stand for a Chance Brothers air & oil containers fitted with pump handle & pressure gauges.This type of installation was once common and relied on the lightkeeper having to pressurise the cylinders manually at regular intervals throughout the hours of darkness. The oil was fed under pressure to the burner mantle. It is all that remains of an air and kerosene oil tank installation, with each rounded side formerly supporting a heavy iron tank. The containers would have been fitted with a pump handle and pressure gauges. An intact assemblage is displayed in the AMSA offices, Canberra with a text that explains ‘This type of installation was once common and relied on the lightkeeper having to pressurise the cylinders manually at regular intervals throughout the hours of darkness’.The system involved vaporising kerosene under pressure and mixing it with air and then burning the vapour to heat an incandescent mantle. The use of kerosene as a fuel to light the lantern became the most common system of illumination from the 1860s after the oil industry in the United States began to develop. The kerosene vapour burner was created in 1901 by British inventor Arthur Kitson (1859-1937) and perfected by Chance Bros for burning a more intense light in their renowned lenses. The lamp had to be watched throughout the night in case a mantle broke, and the tanks needed to be maintained by hand-pumping each hour or so. The Point Hicks lantern was initially lit by a six-wick Trinity house kerosene burner. This was replaced by the more efficient and brighter 55mm vaporised kerosene mantle burner in 1905, and the tank stand is probably original to this apparatus. Electricity eventually replaced kerosene at Point Hicks in 1964 making the tank installation obsolete, and the last kerosene system in an Australian lighthouse was replaced in 1985. Gabo Island Lightstation has a pair of tanks that are not attached to the optical system and are no longer in the lighthouse. They are also missing the pressure gauges that were formerly attached to the top of each cylinder. An intact tank assemblage is displayed at the Cape Schanck Lighthouse Museum it is detached and not original to the lighthouse. Although corroded, the remnant Point Hicks tank stand has first level contributory importance to the lightstation. It is significant for its provenance and historical value as part of the Chance Bros vaporised kerosene burner introduced in 1905 to intensify the light and improve the efficiency of the system. The rusted iron stand rests on four short legs and is shaped like a pair of spectacles.

The heavy twin tanks formerly contained vaporised kerosene which was used as a fuel to light the lantern. Kerosene became available in the 1860s as the oil industry in the United States developed, and vaporised kerosene soon became the most common system of illumination. The kerosene vapour lamp was perfected by Chance Bros. for burning the light in their renowned lenses. The system involved vaporising kerosene under pressure and mixing it with air and then burning the vapour to heat an incandescent mantle. The lamp had to be watched throughout the night in case a mantle broke, and the tanks needed to be maintained by hand-pumping each hour or so. Kerosene tanks like these were developed in the early twentieth century, and kerosene as a fuel was phased out by electricity, with the last kerosene system in Australia eventually replaced in 1985. The wick lamp in Gabo Island’s light was altered to a vaporised incandescent kerosene mantle burner in 1909. They would have been in use until 1935, when the light was electrified and the original first-order lens was replaced by a fourth-order lens. The Gabo Island tanks, which are presumed to be those used in the lighthouse between 1909 and 1935, are not attached to the optical apparatus and are no longer in the lighthouse. They are also missing the pressure gauges that were formerly attached to the top of each cylinder. Cape Schanck has a pair of unattached tanks, which are not historically associated with the lighthouse. Point Hicks has an iron stand that formerly supported its lighthouse oil tanks. Despite their lack of intactness, the Gabo Island tanks have first level contributory significance for their provenance to the lightstation and historic association with the lantern’s original Chance Brothers first order lens, which was removed in 1935Two large green cylinders standing in a metal frame. There is also a pumping mechanism attached to the stand with a wooden handle.

The seven weights (0008.4 and 0136.3) are circular in shape with a hole in the centre and a groove cut across the radius. They were specifically designed to fit into a weight tube, which allowed movement of the weights that were used for driving the clockwork mechanism for turning the lighthouse lens. They are most likely original to the Chance Brothers system installed in 1913, which was originally equipped with a set of ten, each weighing around thirty kilograms.The weights were moved vertically in similar fashion to the way weights move on a grandfather clock. As the weight fell, the optic clock was driven and the lens was turned. To keep the clock turning, the weight needed to be wound back up to the top of its travel. Lighthouse keepers had to constantly wind the clock to keep the light active, and at least two keepers needed to observe a strict roster of hours. When electric motors were invented, weights became obsolete and the motors were able to turn the optic for as long as there was power to drive them. Wilsons Promontory’s Chance Bros. kerosene operated light, which was turned by a clockwork mechanism, was replaced by small electric motor in 1975, reducing the number of keepers and eliminating the need for weights. Cape Schanck has a set of fourteen weights remaining in situ in the lighthouse weight tube as well as another four detached weights, two of which may be associated with the 1859 mechanism. A small number of detached cast iron weights and two associated rods remain at the Point Hicks Lightstation and one weight is displayed in the lantern room at Cape Otway.The Wilson Promontory weights have first level contributory significance for the insights they provide into the technology and operations of a late nineteenth/early twentieth century lighthouse which has since been superseded. They are well provenanced and are significant for their historical value as part of the lightstation’s Chance Brothers optical system installed in 1913.Four circular disc shaped lead weights, all with a narrow section cut out to the middle of shape. (as in slice of cake)