The Eastern Whipbird isusually be found in pairs. They have a distinct white stripe on either side of the beak which helps to identify this bird. This species generally resides in wet habitats such as wetlands and rainforests, where there is dense vegetation. The Eastern Whipbird can be commonly found along the east coast of Australia. Since this is a taxidermy mount, there are a few inconsistencies. The main inconsistency is the colour of the specimen, the plumage should be an olive-green colour. This particular colouring has likely faded due to the taxidermy process and also the age of the specimen. There should also be black plume on top of the head which is missing from this specimen. 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 Eastern Whipbird is a small species of bird which has a dramatic stripe of white colouring on either side of the small bill and the crest is black. The belly and throat are black while the back, wings and tail are dark brown. This specimen stands upon a wooden perch and has an identification tag tied around its leg.25a / Thickhead / catalogue page 11taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, eastern whipbird, australian birds

Rhodonite is a reddish-pink manganese silicate material and often contains iron, magnesium and calcium. It is usually found in metamorphic rocks (rocks which have been altered by heat, pressure or chemical process). It can range in size from tiny to massive. Because of their composition they are not suitable for use in jewellery because they are hard enough. It is quite rare to find, though has been found in Australia, North America, South America and Europe.This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study. This specimen is a palm shaped piece of loellingite within rhodonite. It is mostly reddish-pink coloured, with flecks of light and dark grey. Loellingite is a grey iron arsenide which often forms into crystal shapes. It is mostly found in mesothermal veins (caused by immense heat) with sulfides or in limestone. It is toxic when heated or struck. rhodonite, loellingite, burke museum, beechworth, geological survey of victoria

This particular specimen was recovered from the Lal Lal Coal and Iron Mine in Victoria, 19km from Ballarat. Brown Coal was discovered here in 1857, just alongside the Geelong to Ballarat Railway line. This discovery of lignite (brown coal) was the first in Victoria, which would bring important benefits to the region and state, both of which had previously been reliant on coal imports. In the 1860s, iron ore was found just 5km from Lal Lal, and the area was converted into an Iron Ore Mine. The Lal Lal Iron Mining Company took over operations in 1874, who then peaked iron production in 1884. This mine continued operations until June 1884, when the blast furnace was extinguished and never recommenced. The blast furnace at Lal Lal is considered one of the most important and highly significant sites ion early industrial history in Australia, as it is the only remaining best furnace from the nineteenth century in the Southern Hemisphere. The furnace ruins are 17 metres high, and are clearly visible today on Iron Mine Road, Lal Lal, near the Bungal Dam. This specimen of Lignite (brown coal) is significant, as it was mined from the area where brown coal was first discovered in Victoria, leading to an important and controversial future of the mining and use of brown coal in this State. The Victorian Heritage Database has listed the Lal Lal Coal Mine with local significance, with their Statement of Significance stating: "The Lal Lal coal mine is historically significant as the site of the first discovery of lignite (brown coal) in Victoria, and one that promised important benefits to regional and state industries that were reliant on coal imports at the time. The significance of the stie is reduced by the poor state of preservation of the coal mining and processing fabric". This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A hand-sized light-weight, soft and combustable sedimentary rock specimen, that is dark brown in colour. The specimen has jagged edges, as though parts of the rock have crumbled away. Brown coal, or Lignite, is formed naturally from compressed peat, and is typically found in natural basins. The stages to the formation of coal ('coalification') begin with plant material and wood, which will decay if it is not subjected to deep burial or heating, and turn into Peat. Peat, when sufficiently compressed naturally, will turn into Brown Coal (Lignite), and finally into Black Coal (sub-bituminous, bituminous and anthracite). Each successive stage has a higher energy content and lower water content. It is brownish-black in colour. Brown Coal has a high moisture content, between 50 and 75 percent, and a low carbon content. Some Brown Coals may be stratified, with layers of plant matter, which means little coalification has occurred beyond the peat natural processing stage. When Brown Coal is submerged in dilute nitric acid or boiling potassium hydroxide solution, it reacts to produce a reddish solution, of which higher-ranked coals do not. When brown coal is pulverised and burned in boilers, the steam is used to drive turbines, which generates electricity. It is the lowest rank of coal, as when burned, it creates a relatively low heat content, which in turn does not create a great output of steam. burke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, mineralogy, brown coal, brown coal specimen, lignite, lal lal, lal lal coal mine, lal lal iron mine, ballarat, blast furnace

In Australia, precious opal is found in Cretaceous age sandstones and mudstones. These sedimentary rocks were deeply weathered and this weathering released silica into the groundwater.Australia is the only part of the world where opalised animal and plant fossils have been found. Opal artefacts several thousands of years old have been discovered in East Africa. As early as 250 BC the Romans prized opals, thought to have come from mines in Eastern Europe, the ancient world's main source of opals. There are many aboriginal dreamtime stories that feature opal. Australian opals discovered during the late 1800's found little favour with European markets but their commercial value increased in the 1900's and in 1932 Australia took over as the major producer of opals in the world and remains the largest producer to this day. Opal is found around the world (Brazil, Mexico, Honduras and the western US) however Australia produces 95% of the world's precious opal and it is our official national gemstone. Opal was first mined commercially at Listowel Downs in Queensland in 1875 and later at White Cliffs in NSW. Today, Coober Pedy (SA) is the main producer of white opal, though in recent years this field has expanded and all types of opals are found. Other centres in SA include Andamooka and Mintabe. Lightning Ridge (NSW) is renowned for black opal and formerly White Cliffs was a large producer of high quality opal. Boulder opals (opals in concretionary ironstone) are mined in Queensland from numerous localities in a zone extending from the Eulo and Cunnamulla district in the south and northwest for a distance of over 700 km to Kynuna in the north. The towns of Quilpie, Yowah and Winton are the main opal mining and wholesale centres. Opals are considered gemstones and have been used in jewellery for thousands of years.Throughout much of history, opals were actually believed to be good luck. The Romans thought that opals were one of the luckiest gemstones and a symbol of hope. In the Middle Ages, opals were believed to be bestowed with all the positive properties of coloured gemstones due to its rainbow-like play of colour. Finally, there is a superstition that you should not wear an opal unless it is your birthstone otherwise misfortune will befall you. This, of course, is far-fetched, but the notion could have been promoted in the late 19th and early 20th Centuries by diamond traders who were trying to increase sales of diamonds and deter people from buying opals. Possibly related to this is the thought that you should set opal jewellery with diamonds as their powers of good fortune will override any negativity held by the opal. The great majority of opal does not show play of colour and is called common opal or potch however this is not the case with a precious opal. Opal is a precious gemstone, like rubies, emeralds or diamonds. Opal is rare, and it is expensive to prospect and mine for.Silica is one of the most common minerals on the planet, but precious opal is very rare – far more rare than diamonds. Precious opal is rare because the natural processes that create it rarely occur.Most (at least 95%) of the opal found by miners is common opal without gem colour. In Australia we call it potch. It can be white, grey, black or amber coloured. Even when a miner finds gem-coloured opal, most of it can’t be cut into gemstones because it’s too thin, or sandy. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.It is not known where this opal originated, except that it is probably from Victoria, as it has been recorded from many localities in the State. Common Opal is formed from silica-rich water circulating through rocks near the Earth’s surface. It consists of minute spheres of silica arranged in different ways. In common opal, the spheres are of different sizes and randomly arranged, unlike in precious opal where the spheres are of similar size and uniformly arranged in three dimensions. These differences account for common opal generally being translucent to opaque and without the play of colours, or opalescence, displayed by precious opal. Common opal is found in many localities and different geological environments throughout Australia and the world. Precious opal requires special conditions to form and is much less common. Australia produces most to the world’s precious opal. burke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, precious opal, opal, brazil, mexico, honduras, queensland, coober pedy, gemstones, jewellery, play-of-colour, light blue

This specimen was recovered from Wonthaggi in Victoria. Coal is a sedimentary rock which is composed of peat after it has been exposed over millions of years. This is an example of Australian black coal which is used as either thermal or coking coal for electricity generation or manufacturing processes. It is predominantly composed of Carbon which is 'C' on the periodic table of elements. This early example of a coal sample, shows the important role that coal played/plays in Australia's energy generation and manufacturing processes. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Small piece of black coal with museum original labelGeological survey / R..... S...../ Locality Cape Patterson coal specimen, burke museum, geological survey of victoria, geological specimen, geology

‘Ropy lava’ is known for its sculptural and layered qualities. It occurs in specific lava flows that are slow moving and slow cooling, allowing for unique formations to be created out of the motion. Ropy Lava is a flow that has a hardened crust with molten material underneath, the tension between these states is what creates its characteristic form. The brown/red hue of the stone is an indication of age, as it is oxidised iron deposits. This rock deposit is thought to be sourced from the area by Talbot, in western Victoria. This area has a rich mineral history and experienced the gold rush in the 1850's. The traditional owners of this area are the Dja Dja Wurrung people.This geological specimen shows the conditions in which the Australian landscape was created as well as provides an indication as to how these events occurred. It is representative of a common natural process that contextualises the formation of Australia with the formation of other landmasses. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Hand sized specimen in brown/red hues42 / victoria, talbot, lava, ropy, ropy lava, mineral, geological specimen, geological, geological heritage, natural stone, natural history

Dolomite is a mineral, calcium magnesium carbonate, with the chemical formula CaMg(CO3)2. It is a principle component of various rock types sometimes also referred to as dolomite, including dolostone, dolomitic marble and dolomitic limestone (according to the composition of each type). Dolomite rock is found in sedimentary basins throughout the world, comprising approximately 2% of the Earth's crust. It is formed when lime mud or limestone encounters groundwater containing magnesium. Dolomite can contain elements such as lead, zinc and copper. Dolomite and limestone are used in various construction, landscaping and agricultural processes. This specimen was donated to the Burke Museum in 1868 by Alfred Selwyn as part of the Geological Survey of Victoria. It was donated to the Museum in 1868. Victoria and other regions of Australia were surveyed for sites of potential mineral wealth throughout the 19th Century. The identification of sites containing valuable commodities such as gold, iron ore and gemstones in a locality had the potential to shape the development and history of communities and industries in the area. The discovery of gold in Victoria, for instance, had a significant influence on the development of the area now known as 'the goldfields', including Beechworth; the city of Melbourne and Victoria as a whole. Dolomite and limestone are mined at several locations in Victoria, including sites in the North-East of the state in Bindi and Limestone Creek. There are notable dolomite deposits in most Australian states. The dolomitised form of the mineral tends to come from older limestone deposits, formed during the palaeozoic era in marine settings, so this specimen may have come from a deposit located along a coastline in Victoria or another state. The specimen is significant as an example of surveying activity undertaken to assess and direct the development of the mineral resource industries in Victoria and Australia, as well as the movement to expand human knowledge of earth sciences such as mineralogy and geology in the nineteenth century. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Hand-sized piece of pale pink dolomite (calcium magnesium carbonate) with dark grey rim and hollowed centre. geological specimen, geology, geology collection, burke museum, beechworth, dolomite, mineralogy, geological survey, alfred selwyn, limestone, calcium magnesium carbonate

Kaolin is also known as china clay. This specimen came from Dunolly, Victoria and was donated to the Museum in 1868 as part of the Geological Survey of Victoria. This survey helped map and study the geology of Victoria. In Victoria, Kaolin is particularly used as a filler and coating material in paper manufacture. It can also be used in paints, ceramics, rubbers and plastics. There are many kaolin deposits in Victoria but many of these have been mined out and there is not much Kaolin left. Rocks that have a high amount of Kaolinite and it can be formed through the decomposition of other materials. There are two types of Kaolin; hard and soft kaolin. Soft kaolin's are coarse but have a soapy texture. It can also break easily. The hard kaolins have an earthly texture and are finer grained. This means that they are harder to break, unlike the soft kaolin. Hard kaolin's are formed by flocculation in salt water, a process that in basic terms, bonds particles together. Kaolin is a common material in Victoria and that is why it is significant. While this specimen was mined in Dunolly, Victoria Kaolin can also be found Pittong, Pakenham, Bulla, Hallam and Ballarat as well as many other places throughout Victoria. This specimen represents the presence of Kaolin deposits in this region of Australia. It is also significant because Kaolin has many uses and is largely beneficial to many manufacturing processes in Victoria. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Two pieces of Kaolinite mineral with shades of white and graygeological specimen, geology, geology collection, burke museum, beechworth, kaolin, china clay, dunolly, geological survey of victoria, kaolinite, victoria, mining, mining deposits, geology of victoria, australia, filler, coating material, paper manufacture, paint, ceramics, rubbers, plastics, decomposition, materials, soft kaolin, hard kaolin, flocculation, particles, salt water

This image shows a pathway in the gardens adjacent to Beechworth's Town Hall at the beginning of the Twentieth Century, around the time of Australia's Federation. The pathway leading to a circular rotunda or covered seating area with a steep conical roof is lined with shrubs set in grass verges that appear to be covered with snow. It is unknown whether the snowfall or a factor to do with the gardens occasioned the taking of the image, which at the time may have been an exotic practice. Climate records going back to 1908 indicate that snow in winter is not unusual due to Beechworth's elevation and orientation, and the Town Hall itself was built in 1859. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques. This glass slide is significant because it provides insight into Beechworth's social amenities and climate in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, town hall, town hall gardens, snow, rotunda, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides

This image shows the gorge adjacent to Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the present-day Beechworth Gorge Walk includes views of the Cascades at the point at which Spring Creek flows into the valley on the level below. Gold-sluicing techniques in use in the town during periods of active gold extraction may have altered the landscape since the photograph was taken, however. In the 1850s a mill was built at the top of the Spring Creek falls by Russian-born Louis Chevalier, brother of artist Nicholas Chevalier. The mill supplied the town with lumber that supported the town's initial construction boom. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, indigo shire, north-east victoria, spring creek falls, beechworth gorge, louis chevalier, nicholas chevalier, lumber industry, timber industry, 1850s, construction, building, mill, mills, waterfall

This image shows a semi-aerial view of a property along a river adjacent to Beechworth in approximately 1900. The photographer has capitalised words in the label, indicating that 'The Precipice' may have suggested a particular rather than a general vantage point to local people at the time. Although the exact location of the photograph is yet to be determined, Beechworth Gorge is popular today with hikers and nearby Mt Stanley is noted for its views. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: Image from The Precipice. /burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, views, landscapes, farmsteads, rivers, beechworth gorge, mt stanley, emulsion, the precipice

This image appears to show nurses at what is now the Mayday Hills Mental Asylum arriving for work in approximately 1900. These individuals are part of a long history of nursing in Beechworth. Three medical or social welfare facilities opened in the mid-1800s as part of a push by the township to become a regional centre for Government services. These were the Ovens District Hospital (opened in 1857), the Ovens Benevolent Asylum (opened in 1863), and the Beechworth Mental Hospital (opened in 1867 and renamed Mayday Hills Hospital at Centenary celebrations in 1967). It was recognised that the unsettled living conditions, poverty and relative isolation of the Goldfields environment could produce 'mental disturbances' which required local treatment facilities as services in Melbourne were too far away. Carole Woods' publication 'A Titan's Field' describes activities undertaken by patients at Beechworth Mental Hospital as including monthly balls and occasional concerts as well as work to make the facility self-supporting such as farm work and making clothes. She mentions a report in 1870 that the approximately 300 patients were clean and neat with 'no-one in restraint or seclusion' but that by 1905 the organisation had 623 patients which placed strain on building infrastructure such as heating and water supplies, leading to high turnover of nurses and other issues. A program of building works to extend and improve facilities followed over subsequent decades. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques This glass slide is significant because it provides insight into Beechworth's social and medical amenities in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a rectangular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: i /burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, nursing, nurses, mental hospitals, lunatic asylums, asylums, social services, social welfare, insane asylums, mental health, infrastructure

This image shows a view of a properties bordering a river in the vicinity of Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the water source pictured may feed into the bigger system that flows through Beechworth Gorge. A man wearing a hat, possibly the photographer, is silhouetted in the foreground of the picture. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, photographer, beechworth gorge, river, stream, water source, 1900s

This image shows a semi-aerial view of commercial and official properties lining Ford Street, Beechworth, in approximately 1900. The tower of Christ Church of St Peter and St Paul can be seen in the middle section of the photograph, on the left-hand side of the street. The Church was constructed in 1858 with the tower added to the structure in 1864. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and commercial and official infrastructure in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, ford street, christ church of st peter and st paul, church tower, landmarks, 1900, shopping facilities, public buildings, 1900s, built environment, streetscape

This image appears to show nurses at what is now the Mayday Hills Mental Asylum in approximately 1900. These individuals are part of a long history of nursing in Beechworth. Three medical or social welfare facilities opened in the mid-1800s as part of a push by the township to become a regional centre for Government services. These were the Ovens District Hospital (opened in 1857), the Ovens Benevolent Asylum (opened in 1863), and the Beechworth Mental Hospital (opened in 1867 and renamed Mayday Hills Hospital at Centenary celebrations in 1967). It was recognised that the unsettled living conditions, poverty and relative isolation of the Goldfields environment could produce 'mental disturbances' which required local treatment facilities as services in Melbourne were too far away. Carole Woods' publication 'A Titan's Field' describes activities undertaken by patients at Beechworth Mental Hospital as including monthly balls and occasional concerts as well as work to make the facility self-supporting such as farm work and making clothes. She mentions a report in 1870 that the approximately 300 patients were clean and neat with 'no-one in restraint or seclusion' but that by 1905 the organisation had 623 patients which placed strain on building infrastructure such as heating and water supplies, leading to high turnover of nurses and other issues. A program of building works to extend and improve facilities followed over subsequent decades. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's social and medical amenities in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, nursing, nurses, mental hospitals, lunatic asylums, asylums, social services, social welfare, insane asylums, mental health, infrastructure

This lantern slide shows the Ovens District Hospital (also called the Ovens Goldfields Hospital) in Beechworth in approximately 1900. The Hospital was built as part of a community push to develop the infrastructure needed for a permanent town in the 1850s. At the time there was no hospital located between Melbourne and the NSW town of Goulburn and it was recognised that the nature of mining and agricultural work predisposed people to serious injury. The community voted in 1853 to raise funds for a hospital and a voluntary committee elected from people who contributed £2 or more annually determined the organisation's management policies, which aimed to provide care for poor people at rates levied according to the person's means. Ongoing operations of the hospital were primarily supported by Government grants, however. The foundation stone was laid at a site in Church Street at a ceremony held 1st September 1856 which was attended by 2000 people using a locally crafted trowel with a tin ore handle and pure gold blade. The hospital, which was designed by J.H. Dobbyn, cost £2347. The hospital had two wards, a dispensary, apartments for a resident surgeon and the matron, an operating theatre and a board room. Further medical facilities including services to meet the cultural and health needs of the local Chinese community were later added, in addition to a Palladian-style cut-granite face built in 1862-63. It functioned as the region's primary hospital until surpassed by the Wangaratta Hospital in 1910. In the 1940s much of the building materials were salvaged and repurposed, with the exception of the facade which was restored in 1963 by the Beechworth Lions Club and still stands today. The facade featured on the covers of local history volume 'Beechworth: a Titan's Field' by Carole Woods and heritage-focused travel guide the 'Readers Digest Book of Historic Australian Towns'. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and infrastructure in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a round-edged square image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.Obverse: Y /burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, ovens district hospital, indigo shire, north-east victoria, hospital, palladian architecture, granite, community fundraising, community infrastructure, j.h. dobbyn, beechworth lions club, ovens goldfields hospital, chinese community

This image shows the gorge adjacent to Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the present-day Beechworth Gorge Walk includes views of the Cascades at the point at which Spring Creek flows into the valley on the level below. Gold-sluicing techniques in use in the town during periods of active gold extraction may have altered the landscape since the photograph was taken, however. In the 1850s a mill was built at the top of the Spring Creek falls by Russian-born Louis Chevalier, brother of artist Nicholas Chevalier. The mill supplied the town with lumber that supported the town's initial construction boom. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, beechworth gorge, indigo shire, landscapes, mill, sluicing, gold mining, north-east victoria, spring creek, louis chevalier, cascades

Miners from Snake Valley lobbied the Victorian Government in 1855 to make land available for sale for farming purposes as an alternative occupation and income for people who wished to stay in the region but move away from gold mining. A secondary motivation was to increase the supply of fresh produce and decrease prices of items that otherwise needed to be transported from Melbourne or other regions. Forty-three country lots were initially offered in the Three Mile area, ranging in size from two to ninety acres and costing from £1 to £3 per acre. An additional eighty-five country lots were auctioned later in the year, in addition to many smaller suburban lots. More lots were offered than sold, initially, but this represented conditions of sale requiring the total purchase cost up front which many people interested in purchasing could not afford, especially as land purchased for farming would accrue substantial additional costs for clearing and labour before becoming productive. Further lobbying activities and the election of parliamentary members sympathetic to the cause took place through the 1850s. Ovens Parliamentary Member, Daniel Cameron, was re-elected in 1856 on a platform of surveying the land for public selection with deferred payment options. Land reform remained an issue in the area through the 1850s and early 1860s, impacting broader decisions in the new State of Victoria relating to voting rights, use of Crown land and the farming of land that wasn't always suitable for the purpose. This photograph depicts Beechworth in approximately 1900, after several waves of land sales resulted in increasingly levels of development. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and infrastructure in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square-edged image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, indigo shire, north-east victoria, farming, squatters, miners, agriculture, land-clearing, land reform, daniel cameron, land sales, three mile, snake valley, tarrawingee

The C.W.A. rooms were in Munro Street, Orbost and were used for many activities, including Sunday School classes and dance lessons. This event was opened by Mrs J.N. Spittle, the state president of the C.W.A. The program lists an address by Sir Albert Lind M.L.A. In Australia, the Country Women’s Association was first formed in New South Wales and Queensland in 1922. Subsequently each State and the Northern Territory formed an Association, a process which took a period of 14 years. Mrs Spittle was the national president from 1951-1953. This item is of social significance as a representation of the role that the C.W.A. has played in the local and extended community. A souvenir program for the opening of a C.W.A. rest room in 1953. It is rectangular in shape with green print on white card with a black frame. Handwritten in pen on the back -"Thought you might like to have this love Annie"c.w.a. country-women's-association-victoria-orbost associations-women

J.Kennon & Sons were known particularly for their use of the chrome tanning process. They were also buyers and exporters of Australian skins and wool.The firm had tanning works,, established in 1863, offices and stores in the vicinity of River Street, Richmond and a leather warehouse in Bridge Road. [ Source -Heritage Victoria https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&cad=rja&uact=8&ved=2ahUKEwiI7OnmofT_AhUia2wGHXNGCaUQFnoECBQQAQ&url=http%3A%2F%2Fimages.heritage.vic.gov.au%2Fattachment%2F24257&usg=AOvVaw0ER8QGZ-3eW4PAg0VM909h&opi=89978449]HistoricalCream coloured account with details eg product and amount in black ink. Includes a separate piece of paper attached to page, with a recipe for vermin destroyer typed in red ink.Credit account of N. L. Smith, Rhyll, Phillip Island. One bag of Rabbit Weevily. March 23, 1914 J. Kennon & Sons River Street, Richmondn.l.smith rhyll, j.kennon and sons, rabbit poison, account, vermin

This 1813 cannon is classified as a carronade, having been made by the Carron Ironworks foundry in Stirling, Scotland in 1813. It is a large calibre, short range, gun mainly used on ships. The carronade model of cannon was first used when introduced into the British Royal Navy in the American War of the Revolution (1775-1883). This cannon was originally a 28pdr, 48cwt, 8ft gun. The date ‘1837’ on the barrel probably indicates the date that the Board of Ordinance accepted the change in size to a 32pdr. It may originally have been a naval gun and the conversion undertaken when it was brought ashore. It is very probably one of the 15 guns that are known to have constituted the defences of Victoria in 1860. This group of 32pdrs was the shorter model of the 4800width and 8ft length cannon and as such are different from the 32pdrs found in NSW. It was originally located on Cannon Hill in Warrnambool when it was the site of the Warrnambool Battery Western Artillery, formed in 1866. It was obsolete by the time of the 1887 fortifications, and was moved from the Warrnambool Fortifications to the Botanic Gardens in 1910, when the Fortifications were declared obsolete. HISTORIC INFORMATION ABOUT THE CANNON IN THE WARRNAMBOOL AREA In the years following the Crimean War (1854-1857J) there was a great concern in the Colony that Imperial Russia would attempt an invasion. Coastal defences in the colony of Victoria were greatly strengthened by the Government as a result. Warrnambool was originally protected by cannons at Cannon Hill, approximately 1 kilometer west of the Flagstaff Hill Fortifications. The cannons included two 1866 guns, both 80 Pound Rifled Muzzle Loaders (RML) purchased by Victoria’s Colonial Government. They were part of a shipment of 26 such guns sent from England in December 1866. They are registered as No. 23 (80cwt-2qr-0lbs) - Gun 1, and No.13 (81cwt-1qr-12lbs) - Gun 2. They were cast at the Royal Gun Factory, Woolwich Arsenal, in 1866 and have a 6.3 inch bore. Both barrels carry the Royal Cypher of Queen Victoria, Insignia of the Royal Engineers, within the Garter and Motto surmounted by the Crown, with the Royal Cypher of Queen Victoria within the Garter (letters in centre “VR”, motto “HONI SOIT QUI MAL Y PENSE”, "Shame be to him who thinks evil of it."). The guns were originally supplied with wooden carriages. (The Royal Arsenal at Woolwich, England, was established eleven years after the Restoration of King Charles II. It was the principal supplier of armaments to the British and Empire Governments. At the height of its operations during World War One the factory covered 1300 acres and employed very nearly 80,000 workers. Woolwich was the Headquarters of the Royal Artillery since the raising of that Regiment in 1716. The Arsenal was closed in the late 1960’s.) The two 80pdr cannons were transferred to the Warrnambool Garrison Artillery Battery Fortifications erected at Flagstaff Hill in 1887 as part of Victoria’s Coastal Defences. The original wooden carriages were subsequently replaced with the present iron garrison carriages in 1888. They are a “C” pivot. The ‘racers’ or curved track set into the floor of the gun emplacement (which enabled the guns to be traversed more quickly) are as specified for guns up to 10 inch, being of wrought iron 2.78 inches wide. A temporary third gun, now no longer on Flagstaff Hill’s site, was a 5 inch Rifled Breech Loading (BL) Armstrong gun mounted on an Elswick hydro pneumatic disappearing carriage It was faster to load and fire than the 80 pound RMLs and its arrival spelt the end of the older 80 pound guns’ useful life, apart from being used for practice sessions. The 5 inch BL gun was the main defensive weapon of the Warrnambool Battery until the Battery was downgraded in importance and the gun was recalled to Melbourne in 1910. The gun emplacement still remains in place set between the 2 80pdr cannon. The State of Victoria took over the ownership of the guns at the time of Australian Federation in 1901. In about 1901/1902 the Garrison Battery was converted to the Warrnambool Battery of the Australian Field Artillery (No 4 Field Battery). It was equipped with 4.7 inch naval guns mounted on field carriages. They were now a mobile unit but continued to use the Warrnambool Garrison area at Flagstaff Hill for practice. When the Fortifications were declared obsolete the two 80 Pounder RML were relocated to Cannon Hill in 1910. On the outbreak of World War 1 the 4.7 inch guns were recalled to Melbourne, and the Battery was disbanded. Most of the personnel probably re-enlisted in the local 4th Australian Light Horse Regiment. The two 80 Pounder RML were moved back to the Fortifications in 1973. They were both fully restored by Army First Year Apprentices at the Ordinance Factory in Bendigo in time for the centenary year of the fortifications in 1987. The guns are capable of firing 80 pound (32.3kg) armour piercing exploding shells 3.65kms out to sea. They were original manned by volunteers before a paid Garrison was established. Now the Guns are again fired by volunteers on Special Event days. Since restoration the Gun Number 1 had been fired on a regular basis but Gun Number 2 hadn’t been fired since the mid 1990’s. In April 2015 Gun Number 2 was serviced in preparation for the firing of both cannons on the ANZAC Centenary commemorations on April 25th 2015. Other guns from the original Cannon Hill location were obsolete by the time the 1887 Warrnambool Garrison Artillery Battery was built. These guns are (1) a 32 Pounder Muzzle Loading Smooth Bore (SB) cast in 1813 at the famous Carron Foundry, number 80837 and now located in the Warrnambool Botanic Gardens. It is now mounted on a replica carriage due to the original carriage being in a fragile condition (the original carriage stored under cover at Flagstaff Hill). (2) a 68 Pounder Muzzle Loading Smooth Bore cast in 1861 at the equally august Low Moor Foundry, number 10310 and now located on the lawn area at the entrance to Flagstaff Hill Maritime Village. It is still mounted on its original wooden garrison carriage. Its wooden slide compressor mechanism is fragile and now kept in Flagstaff Hill’s storage. There are only seven 32 Pounder SB made by Carron and fifteen 68 Pounder SB made at Low Moor known to exist in the State of Victoria Plaque attached to the carriage “This replica carriage was constructed by the Warrnambool Tritan Woodworkers club in conjunction with the generosity of local businesses and the Warrnambool community. The original carriage (circa 1860) was removed for restoration and is now located at Flagstaff Hill Maritime Village. The timber used for the replica carriage is Monterey Cypress, which was an early planting in the gardens. 2010 marked the centenary of the cannon’s relocation in the Warrnambool Botanic Gardens.” (Reference; Victorian Guns and Cannons, South Western Victoria Assessment, May 2008, item W/B/01; Flagstaff Hill Maritime Village datasheets and archives). There are only seven 32 Pounder SB made by Carron known to exist in the State of Victoria and this is one of them. On a world level, this cannon represents a high level of rarity. Further, as it has been modified (bored up) it is representative of the historical process of amending artillery in order to ensure a longer usefulness of each piece despite rapidly advancing artillery technology. The number of surviving carriages with traversing slides in this group in South Western Victoria is unique in Australia and probably in the World. Out of 10 such platforms surviving in Australia, the South Western Victorian group has half. Several survive around the world but probably not in such a large group. The wooden sliding compressor mechanism belonging to this cannon is extremely rare, and the only one in this South Western Victorian group of Guns and Cannons. As a whole, this cannon has undergone very little restoration or modification, giving it a high level of integrity. The City of Warrnambool is one of several custodians of a collection of artillery pieces of heritage significance at a state, national and international level. These pieces are directly related to the defence of south-west Victoria in the 19th century. The care and preservation come under the Heritage Act 1995. (Reference; Victorian Guns and Cannons, South Western Victoria Assessment, May 2008).Cannon, or carronade, 32pdr with wheels. Muzzle loading smooth bore (SB) cannon. Cannon has original wooden Burmese Teak carriage and slide with wrought iron fittings and iron wheels. Manufactured by Carron in Scotland, in 1813. It has been converted from a 28pdr. There is a loop for a rope on the cascabel, which was part of the original casting. Re-bored in 1837. Marks include Serial Number, Royal Cypher of King George III, broad arrow of proofing, and numbers to represent the weight. NOTE: The cannon is displayed in the Warrnambool Botanic Gardens and is mounted on a replica wooden carriage; the original wooden carriage is now stored under cover at Flagstaff Hill Maritime Village. This carriage has 4 wheels on swivel attachments and a central gear that allows the wheels to turn on rails. Pressed into left trunnion “80837 / CARRON / 1813”, cast on barrel“symbol (Royal Cypher of King George III”, “symbol (broad arrow of proofing)” and numbers “45-3-24 / 1837” . Cascable “CV” and marks with gradations from nought to three in quarters on each side, On the carriage the end of one of the main slide members carries the mark “W symbol (broad arrow) D” incised into the timber. Plaque attached to the carriage by the Warrnambool Tritan Woodworkers club, 2010, marking the centenary of the cannon’s relocation in the Warrnambool Botanic Gardens and the addition of the replica carriage. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, victoria’s coastal defences, warrnambool fortification, warrnambool garrison battery, ordinance, armaments, cannon hill fortifications, victorian colonial government, carron ironwroks foundary, 32pdr smooth bore cannon, 28pdr smooth bore cannon, 1813 cannon, carronade

This is a box for packaging Kraft Cheese in Victoria. A Melbourne man, Fred Walker, negotiated with the American company the Kraft processing of cheese and established the Kraft Walker Cheese Company in 1934 and leased the Warrnambool Cheese and Butter Factory premises in Allansford in 1935. Until 1993 this factory produced Cheddar Cheese, Swiss Cheese, Cracker Barrel and Tasty Cheddar Cheese and other varieties and won many Australian awards. A microbiological laboratory was established and from 1939 Ls O’Callaghan, a noted Warrnambool historian, worked in this laboratory, establishing the basis of the dairy industry guidelines for effective and scientific processing of milk. He worked there for 45 years. The Warrnambool Cheese and Butter Factory is still today a major industry in the Warrnambool area. This box is of key importance as an item that held Kraft Walker Cheese Company cheese. This company and its factory in Allansford was a key business in the dairying industry in the Warrnambool area for nearly 60 years. The box may have been used locally in the Allansford factory. This is a wooden oblong box with no lid. It has been nailed together with 12 nail heads visible and three nails protruding from the top edges. It has been used to package five pounds of Kraft Cheese. There is handwritten material in pencil on three sides (some crossed out) and the Kraft Cheese information with the ‘K’ logo is stamped on the bottom. ‘The World Renowned Kraft Cheese (K), Patented July 26 1916, 5 lbs net, Kraft Walker Cheese Co. Pty. Ltd., Melbourne, Australia’kraft walker cheese company (allansford), fred walker, warrnambool cheese and butter factory, warrnambool, history

Outdoor Chapel, Gilwell Park Scout Association State Training Centre - mainly for leaders Gilwell Park is a campsite and outdoor recreation area located in Gembrook, Victoria, Australia. It is primarily used by the scouting community as a training and camping facility. The site is owned and operated by Scouts Victoria, and is one of the largest and most popular campsites in the state. It covers over 95 hectares of natural bushland, and features a range of facilities including campsites, activity areas, a dining hall, and accommodation options. Gilwell Park has a long history within the scouting movement, and is named after the original Gilwell Park located in Epping Forest, England. The English site is considered the spiritual home of scouting, and was where the first Wood Badge training course was held in 1919. Today, Gilwell Park at Gembrook offers a range of training courses and programs for scouts, leaders, and other community groups. It is also a popular destination for school camps, corporate team-building events, and outdoor enthusiasts looking to explore the natural beauty of the region. [Source: ChatGPT Open AI - Gilwell Park in Australia.. (2023, March 23). Retrieved from https://chat.openai.com/chat] Donated by Lewis Tulk, former Scout Area Training Commisioner for Leaders. Lewis did his training at Gillwell Park in London.Print copy stamped "17" on reverselewis tulk collection, scouts victoria, gillwell park, gembrook, scout leader training

At entrance to Chapel Outdoor Chapel, Gilwell Park Scout Association State Training Centre - mainly for leaders Gilwell Park is a campsite and outdoor recreation area located in Gembrook, Victoria, Australia. It is primarily used by the scouting community as a training and camping facility. The site is owned and operated by Scouts Victoria, and is one of the largest and most popular campsites in the state. It covers over 95 hectares of natural bushland, and features a range of facilities including campsites, activity areas, a dining hall, and accommodation options. Gilwell Park has a long history within the scouting movement, and is named after the original Gilwell Park located in Epping Forest, England. The English site is considered the spiritual home of scouting, and was where the first Wood Badge training course was held in 1919. Today, Gilwell Park at Gembrook offers a range of training courses and programs for scouts, leaders, and other community groups. It is also a popular destination for school camps, corporate team-building events, and outdoor enthusiasts looking to explore the natural beauty of the region. [Source: ChatGPT Open AI - Gilwell Park in Australia.. (2023, March 23). Retrieved from https://chat.openai.com/chat] Donated by Lewis Tulk, former Scout Area Training Commisioner for Leaders. Lewis did his training at Gillwell Park in London.Print copy stamped "17" on reverselewis tulk collection, scouts victoria, gillwell park, gembrook, scout leader training

Gilwell Park is a campsite and outdoor recreation area located in Gembrook, Victoria, Australia. It is primarily used by the scouting community as a training and camping facility. The site is owned and operated by Scouts Victoria, and is one of the largest and most popular campsites in the state. It covers over 95 hectares of natural bushland, and features a range of facilities including campsites, activity areas, a dining hall, and accommodation options. Gilwell Park has a long history within the scouting movement, and is named after the original Gilwell Park located in Epping Forest, England. The English site is considered the spiritual home of scouting, and was where the first Wood Badge training course was held in 1919. Today, Gilwell Park at Gembrook offers a range of training courses and programs for scouts, leaders, and other community groups. It is also a popular destination for school camps, corporate team-building events, and outdoor enthusiasts looking to explore the natural beauty of the region. [Source: ChatGPT Open AI - Gilwell Park in Australia.. (2023, March 23). Retrieved from https://chat.openai.com/chat] Donated by Lewis Tulk, former Scout Area Training Commisioner for Leaders. Lewis did his training at Gillwell Park in London.Print copy stamped "17" on reverselewis tulk collection, scouts victoria, gillwell park, gembrook, scout leader training

Blue 24 page catalogue from Frank Vial and Sons. Includes numerous line and photographic illustrations.non-fictionj.w. glover, john w. glover, mining, machine belts, link belting, belt fasteners, pulleys, leather hose, victoria crescent abbotsford, abbotsford

The 8th Battalion was an infantry battalion of the Australian Army. Initially raised in 1914 for the First Australian Imperial Force during the First World War the battalion was completely recruited from Victoria and formed part of the 2nd Brigade, 1st Division. During the war it fought at Gallipoli and in France and Belgium on the Western Front. It was disbanded in 1919, before being re-raised as a Militia battalion in 1921. During the Second World War the 8th Battalion was used primarily as a garrison unit before taking part in the Bougainville campaign late in the war. It was disbanded again in 1946 during the demobilisation process, although it was reformed again in 1948 when it was amalgamated with the 7th Battalion. Today, its honours and traditions are perpetuated by the 8th/7th Battalion, Royal Victoria Regiment.Rectangular shaped black and white photograph.THE AUSTRALIAN, May 3, 1941. THE 8TH BATTALION IN CAMP AT ELCHO FARM, GELONG IN 1934. 8th battalion, ww1, australian infantry, lara r.s.l.

When scrimshaw is mentioned, most people think of carving on sperm whale teeth only. But scrimshaw also includes engravings on skeletal whale bone–such as the jaw bone, called pan bone and ivory from other marine mammals such as walrus. Although scrimshaw is widely associated with nautical themes and designs of the 19th century whaling industry, vintage scrimshaw was also produced as tribal art in many cultures. Today, scrimshaw is recognized as a unique medium in which present-day artists have developed their own modern themes. Scrimshaw reproductions may take several forms. There are - New carvings on genuine ivory or bone with the deliberate intent to create an "antique” - New carvings on genuine ivory or bone sold as signed and dated contemporary art - Clearly marked synthetic museum reproductions and mass marketed - Unmarked synthetic replicas This scrimshaw work is done on a sperm whale's tooth. It is one of two pieces by artist Gary Tonkin in Flagstaff Hill’s collection. Sperm whales can live for 60 or even 70 years, so the tooth could be quite old. It came from the whaling station in Albany, Western Australia, which ceased processing whales in 1978 and is now a whaling museum. The two works were commissioned by Flagstaff Hill in the 1980s. Tonkin could spend from a few days to a few months in intensive work on each piece of scrimshaw. He is a world-renowned Master Scrimshander and a Fellow of the Australian Society of Marine Artists (FASMA), and lives in Albany, Western Australia. Gary Tonkin, FASMA – Tonkin was born in 1949 in Portland, Victoria, and grew up there with a history of whaling and related industries. He moved to Albany in southwest WA in 1971 and worked as an Export Meat inspector for the Federal Government. This small town also had a historical connection to whaling. The Cheynes Beach Whaling Station was still operating, and there were even three whaling ‘chaser’ vessels at the old jetty. In 1975, his employment now permanent, Tonkin bought an old cottage near the bay, purchased some whales’ teeth, and began learning the sailors’ art of scrimshaw, combining this with his artistic skills and knowledge of history. His job gave him access to buy as many whale teeth as he could afford, straight from the whaling station. Tonkin gained further marine knowledge as he sailed on the schooner ‘Esperance’ from Fremantle to Mauritius in 1988. He watched the sailors at work and experienced the rough and stormy sea conditions first-hand. Tonkin later visited whaling museums, galleries and libraries in England and America to gather reference materials and information on all aspects of whaling and scrimshaw. In 1993 he was Commissioned to engrave six large whale teeth, from the Albany whaling station, for the USA Gallery at the Australian National Maritime Museum in Sydney. This work is now in the museum’s permanent collection. From that time, Tonkin began working full-time as a Scrimshander. Tonkin’s work is now in galleries and museums in America and Australia, as well as in private collections. He is the founder of the Albany Maritime Heritage Association and was the inaugural President. In the 1990s he actively and successfully campaigned for the preservation of the Cheynes Beach Whaling Station in Albany, which is now Whale World, an open-air whaling museum. His continuing work as a Scrimshander contributes to the preservation of the art of scrimshaw and the history of whaling. This scrimshaw represents the ancient craft of scrimshaw, associated with mariners in the whaling trade in the early 19th century. The work is also Nationally significant for being created by world-renowned Scrimshander, Gary Tonkin, from Albany, Western Australia. Scrimshaw; whale tooth carved with an image of two whaleboats hauling a dead whale back to the mother ship. Inscribed Title and signature of artist Gary Tonkin.Inscribed "Bringing in the whale". Signature "G Tonkin"flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, maritime museum, flagstaff hill, perth, whaling, whales, australia, scrimshaw, scrimshander, gary tonkin, g tonkin, bone, tooth, craft, albany, western australia, cheynes beach whaling station, whale world, portland, engraving, maritime art, sperm whale's tooth, albany whaling station, albany whaling museum