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Eltham District Historical Society Inc
Photograph, Sugarloaf Reservoir, Christmas Hills, 16 January 2015
Sugarloaf Reservoir is situated on former farmland. This large water storage was completed in 1982 and serves Melbourne's northern suburbs. Within the visitor areas are two picnic grounds and other recreational facilities. Below its massive rock embankment is located the Winnecke Treatment Plan designed to purify its water before being piped into Melbourne. The dam partly inundated the old firing ranges of the former Christmas Hills Rifle Club. Source: Christmas Hills Now and then: Yarra Glen & District Historical Society, 2004. Born Digitalchristmas hills, sugarloaf reservoir -
Eltham District Historical Society Inc
Photograph, Sugarloaf Reservoir, Christmas Hills, 16 January 2015
Sugarloaf Reservoir is situated on former farmland. This large water storage was completed in 1982 and serves Melbourne's northern suburbs. Within the visitor areas are two picnic grounds and other recreational facilities. Below its massive rock embankment is located the Winnecke Treatment Plan designed to purify its water before being piped into Melbourne. The dam partly inundated the old firing ranges of the former Christmas Hills Rifle Club. Source: Christmas Hills Now and then: Yarra Glen & District Historical Society, 2004. Born Digitalchristmas hills, sugarloaf reservoir -
Eltham District Historical Society Inc
Photograph, Sugarloaf Reservoir, Christmas Hills, 16 January 2015
Sugarloaf Reservoir is situated on former farmland. This large water storage was completed in 1982 and serves Melbourne's northern suburbs. Within the visitor areas are two picnic grounds and other recreational facilities. Below its massive rock embankment is located the Winnecke Treatment Plan designed to purify its water before being piped into Melbourne. The dam partly inundated the old firing ranges of the former Christmas Hills Rifle Club. Source: Christmas Hills Now and then: Yarra Glen & District Historical Society, 2004. Born DigitalMelbourne Water Sugarload reservoir Melboure Water is owned by the Victorian Government. We manage Melbourne's water supply catchments, remove and treat most of Melbourne's sewrage, and manage waterways and major drainage systems. Most of Melbourne's water comes from uninhabited, forested catchments. Melbourne is one of the few cities in the world that has protecyed water supply catchments. Melbourne Water manages these catchments to protect our drinking water. Our water is safe and pleasant to drink, and undergoes minimal treatment - it is better to start witht he highest quality source. A key part of Melbourne Water's responsibility is to encourage the sustainable use of this precious resource. For more inforamtio on our water supply and on how you can conserve water, call 131 722 or visit www.melbournewater.com.auchristmas hills, sugarloaf reservoir, sign, melbourne water -
Eltham District Historical Society Inc
Photograph, Sugarloaf Reservoir, Christmas Hills, 16 January 2015
Sugarloaf Reservoir is situated on former farmland. This large water storage was completed in 1982 and serves Melbourne's northern suburbs. Within the visitor areas are two picnic grounds and other recreational facilities. Below its massive rock embankment is located the Winnecke Treatment Plan designed to purify its water before being piped into Melbourne. The dam partly inundated the old firing ranges of the former Christmas Hills Rifle Club. Source: Christmas Hills Now and then: Yarra Glen & District Historical Society, 2004. Born Digitalchristmas hills, sugarloaf reservoir, signage -
Melbourne Water
Photographic View Book, The Melbourne & Metropolitan Board of Works - Water Supply, Sewerage etc. ...Photographic Views, 1908
In 1891 The Melbourne and Metropolitan Board of Works (MMBW) was formed and became responsible for Melbourne's water supply. Melbourne had grown to a city of half a million people. To provide water to this rapidly growing city (especially the eastern suburbs), and to supplement the 1857 Yan Yean Reservoir, Melbourne's first water supply, the Watts River (near Healesville) was tapped. It supplied water to Melbourne, via the Maroondah aqueduct. In May 1892 the MMBW's first engineer-in-chief, Mr William Thwaites began construction on Melbourne's sewerage system. A treatment farm was built at Werribee and a pumping station was built at Spotswood (now the site of the Scienceworks Museum) to send the city's waste to Werribee. The first Melbourne homes were connected to the sewerage system in 1897. This book showcases the MMBW's infrastructure achievements and documents costs, requirements and key personnel involved in the development of the water supply and sewerage schemes.The introduction states "The water supply sources and headworks are in many cases situated in remote places and the sewerage works are chiefly underground. The Board has therefore resolved that these photographs of some of the scenes and works should be collected and bound for general information. August 1908" This book is in excellent condition and provides a detailed insight into the previous 17 years of work and the Board personnel of the MMBW leading up to 1908. It is of historical importance to the history of Melbourne for the photographic documents of places that were not generally open to the public, and for Melbourne Water in its detailed history of the MMBW in the early twentieth century. Photographic view book with hard khaki coloured cardboard cover and blue fabric binding. 120 Pages. Glossy paper with black and white plates and text about the MMBW, and scenic views and places of interest in association with the MMBW. The Melbourne & Metropolitan Board of Works - Water Supply, Sewerage etc. ...Photographic Views...mmbw, board members, sewerage, water supply, historic views, photographs -
Melbourne Water
Photograph, North Cocoroc State Primary School, 1950s
As the Yarra became unsuitable as a source of water, several attempts were made to find alternative sources for the growing population of Melbourne. It was not until 1891 that the efforts to sewer Melbourne came to fruition with the setting up of the Melbourne Metropolitan Board of Works (MMBW), now known as Melbourne Water. From 1891 until 1992, it was the responsibility of the MMBW to safeguard public health by providing a sewerage system and a safe water supply system. In 1992, The MMBW merged with a number of smaller urban water authorities to form Melbourne Water. The township of Cocoroc was created in 1894 at the Metropolitan Sewage Farm (now the Western Treatment Plant) to house the workers it employed. The name 'Cocoroc' means 'frog' in the language of the Wathaurung people — the Traditional Owners of the land the treatment plant was built on. By the early 1950s there were nearly 100 houses, a town hall, football ground (and team), swimming pool, tennis courts, four schools and a post office, and by the 1970s some 500 people were living in Cocoroc. As it became too expensive for the MMBW to subsidise, Cocoroc was abandoned. By 1973 most of the houses and other buildings were demolished or moved to Werribee. All that is left now of Cocoroc are two small, empty, concrete swimming pools, a few weatherboard sheds and a big iron water tank. This photograph detailing an exterior view of the North Cocoroc State Primary School, is historically significant as it captures children at play within a purpose built community. The School that was one of four was built to educate the children of the MMBW workers. As the school no longer exists, this photograph is the only tangible evidence left of the building, also showcasing the style of buildings in this era. cocoroc, township, school, mmbw, melbourne metropolitan board of works, melbourne water -
Melbourne Water
Photograph - Turning Of The First Sod, 1908
The 19th of May marks the anniversary of the turning of the first sod of the outfall sewer. In 1888, a Royal Commission into Melbourne’s public health led to an ambitious plan to construct a sewerage system of underground pipes, sewers and drains to carry sewage from homes and factories to a sewage treatment farm. The commission also supported the establishment of the Melbourne Metropolitan Board of Works (MMBW), the authority that would build the sewerage system and manage Melbourne’s water supply. This photograph is from The Melbourne and Metropolitan Board of Works Water Supply, Sewerage, and etc Photographic Views, 1908This photograph is in excellent condition and provides a detailed insight into Board personnel of the MMBW. It is of historical importance to the history of Melbourne in the turning of the very first sod.Black and white photographphotograph, mmbw, melbourne metropolitan board of works, melbourne water, historic, turniing of the first sod, book, sewerage, water -
Victorian Interpretive Projects Inc.
Medicine, The Blue Light Ointment, c1917
Photograph of a box containing two tubes. It was given to Australian soldiers during World War One to prevent venereal disease.Inside box: Directions for Use Before Connection 1. Rub head and shaft of Penis with half the tube of No. 2 Ointment, White. 2. Always wear a sheath After Connection 1. Pass water IMMEDIATELY 2. Wash thoroughly Penis and Scrotum with soap and water. 3. Inject the whole of the contents of the Tube of No. 1. Oitnment, Brown, into pipe and massage back 2 inches. 4. Rub remainder of tube No. 2 Ointment, White, on head and shaft of Penis and Scrotum 5. Hold urine some hours after treatment 6. Report at V.D. Prevention Depot (Blue Light Depot) as soon as possible. 7. Having read directions and understood them, destroy by tearing up or by burning.world war one, medicine, ointment, venereal disease, vd, world war 1, world war, mmm -
Coal Creek Community Park & Museum
Box, cardboard, c.1937-1960
Trove : Advertised from 1937-1949 in various publications search under "Wellcome"' Calcium Borogluconate (yes with 2 'l's) . Victorian Government Gazette , no.2 Jan 5, 1960, page 16. List of Registered Stock Medicine. Registered Wholesale Dealer : Burroughs Wellcome and Co. (Aust) Ltd. Cressy Street, Rosebery New South Wales. Manufacturer, if other than the Wholesale Dealer - , Distinguishing Name of Stock Medicine : "Wellcome" Calcium Borogluconate, Approved Use or for the Treatment of : Milk Fever, hypocalcaemia. Rectangular faded pink cardboard box opening at both ends with the remnants of a paper label on one side, containing a folded paper leaflet and a cellophane bag containing white granules.Outer label '.....ATE .s enclosed)..........ELLCOME & .............STRALIA..D., SYDNEY, N....in Australia'. Impressed on one flap of box '132'. Printed leaflet (side one) Illustration of a unicorn, a thick black line under which text 'WELLCOME' brand CALCIUM BOROGLUCONATE (Vetinary)' followed by another thick black line. 'Calcium Borogluconate ia a stable , non-irritant calcium preparation for subcutaneous or intravenous injection in the treatment of milk fever and other forms of acute hypocalcaemia. It is available in the dry state as 'Wellcome' Calcium Borogluconate, a granular product in single dose containers of 2 1/2 oz. Milk Fever In the treatment of milk fever in cows, 21/2 oz. to 31/2 oz. of the granules should be injected subcutaneously at two or three points in the neck, with the usual aseptic precautions. The granules should be dissolved in 10 fl. oz. of boiling water, the solution allowed to boil for five minutes, then cooled to body temperature before administration. Repetition of the dose is very rarely necessary. Should a more rapid response be desired, the whole of the solution hay be given by slow intravenous injection; alternatively , the greater part of the solution may be injected by this route and the remainder given subcutaneously in the manner described above. A convenient apparatus for the controlled administration of large volumes of fluid (leaflet side two) is the 'Wellcome' Flutter Valve Injection Apparatus. Prophylaxis Recurrent attacks at successive parturitions may be prevented by giving calcium borogluconate immediately after calving and again about 20 hours later. Each dose should be from one or two ounces of 'Wellcome' Calcium Borogluconate, dissolved as directed above. Other Indications Certain other conditions have been found to respond readily to calcium borogluconate therapy. These include parturient hypocalcaemia or milk fever in ewes, parturient eclampsia in sows and bitches, so-called "staggers" in lactating dairy cattle suspected to be due to hypocalcaemia, and transit tetany in horses. The dosage for various species is generally within the ranges indicated below : horses and cattle 11/2 to 31/2 oz. Sheep, goats and pigs 1/2 oz. to 1 oz. Dogs 11/2 dr. to 3 dr. 'WELLCOME' brand CALCIUM BOROGLUCONATE A readily-soluble granular product issued in cartons of 21/2 oz.' Illustration of a unicorn, 'BURROUGHS WELLCOME & CO. (AUSTRALIA) LTD. (Incorporated in England) SYDNEY, N.S.W.' A black line 'ref.A5007g 54.1. 25' milk fever, hypocalcaemia, subcutaneous -
Wannon Water
Manual/book, Government printer, Manual for the guidance of operators of sewage and sullage treatment plants 1943, 1943
Compiled by H.W.McCay, Divisional Engineer and L.B.Cullen, Assistant Engineer in collaboration with E.A. Hepburn, Sanitary Engineer, Department of Public HealthState Rivers and Water Supply Commission was the government body responsible for water supply.A booklet, with a front brown cover, back cover missing, 61 pagesHandwritten L Bush on top of first pagewater supply, sewage, wastewater management, operating manuals, water reclamation plant -
Eltham District Historical Society Inc
Photograph - Colour Print, Lewis Tulk, Construction Winneke Reservoir and treatment plant / Melbourne and Metropolitan Board of Works, c.1981
Sugarloaf Reservoir is situated on former farmland. This large water storage was completed in 1982 and serves Melbourne's northern suburbs. Within the visitor areas are two picnic grounds and other recreational facilities. Below its massive rock embankment is located the Winnecke Treatment Plan designed to purify its water before being piped into Melbourne. The dam partly inundated the old firing ranges of the former Christmas Hills Rifle Club. Source: Christmas Hills Now and then: Yarra Glen & District Historical Society, 2004.lewis tulk collection, construction, sugarloaf reservoir, winnecke dam -
Eltham District Historical Society Inc
Photograph - Colour Print, Lewis Tulk, Construction Winneke Reservoir and treatment plant / Melbourne and Metropolitan Board of Works, c.1981
Sugarloaf Reservoir is situated on former farmland. This large water storage was completed in 1982 and serves Melbourne's northern suburbs. Within the visitor areas are two picnic grounds and other recreational facilities. Below its massive rock embankment is located the Winnecke Treatment Plan designed to purify its water before being piped into Melbourne. The dam partly inundated the old firing ranges of the former Christmas Hills Rifle Club. Source: Christmas Hills Now and then: Yarra Glen & District Historical Society, 2004.lewis tulk collection, construction, sugarloaf reservoir, winnecke dam -
Eltham District Historical Society Inc
Photograph - Colour Print, Lewis Tulk, Construction Winneke Reservoir and treatment plant / Melbourne and Metropolitan Board of Works, c.1981
Sugarloaf Reservoir is situated on former farmland. This large water storage was completed in 1982 and serves Melbourne's northern suburbs. Within the visitor areas are two picnic grounds and other recreational facilities. Below its massive rock embankment is located the Winnecke Treatment Plan designed to purify its water before being piped into Melbourne. The dam partly inundated the old firing ranges of the former Christmas Hills Rifle Club. Source: Christmas Hills Now and then: Yarra Glen & District Historical Society, 2004.lewis tulk collection, construction, sugarloaf reservoir, winnecke dam -
Eltham District Historical Society Inc
Photograph - Colour Print, Lewis Tulk, Construction Winneke Reservoir and treatment plant / Melbourne and Metropolitan Board of Works, c.1981
Sugarloaf Reservoir is situated on former farmland. This large water storage was completed in 1982 and serves Melbourne's northern suburbs. Within the visitor areas are two picnic grounds and other recreational facilities. Below its massive rock embankment is located the Winnecke Treatment Plan designed to purify its water before being piped into Melbourne. The dam partly inundated the old firing ranges of the former Christmas Hills Rifle Club. Source: Christmas Hills Now and then: Yarra Glen & District Historical Society, 2004.lewis tulk collection, construction, sugarloaf reservoir, winnecke dam -
Eltham District Historical Society Inc
Photograph - Colour Print, Lewis Tulk, Construction Winneke Reservoir and treatment plant / Melbourne and Metropolitan Board of Works, c.1981
Sugarloaf Reservoir is situated on former farmland. This large water storage was completed in 1982 and serves Melbourne's northern suburbs. Within the visitor areas are two picnic grounds and other recreational facilities. Below its massive rock embankment is located the Winnecke Treatment Plan designed to purify its water before being piped into Melbourne. The dam partly inundated the old firing ranges of the former Christmas Hills Rifle Club. Source: Christmas Hills Now and then: Yarra Glen & District Historical Society, 2004.lewis tulk collection, construction, sugarloaf reservoir, winnecke dam -
Whitehorse Historical Society Inc.
Pamphlet, Blackburn Creeklands, 1/08/1990 12:00:00 AM
Sympathetic treatment of creek banks and preservation and regeneration of bushland will encourage wildlifeSympathetic treatment of creek banks and preservation and regeneration of bushland will encourage wildlife, development of wetlands has encouraged water birds, provision of play equipmentSympathetic treatment of creek banks and preservation and regeneration of bushland will encourage wildlifeparks and reserves, blacks walk, kalang park, furness park, city of nunawading, melbourne and metropolitan board of works, middleborough road, blackburn, pakenham street, blackburn road, gardiners creek, laburnum primary school no. 4863 -
Whitehorse Historical Society Inc.
Article, Sewer Treatment Plant, 11/09/2017 12:00:00 AM
Frank Sedgman Reserve could become a giant sewage farm servicing householders in Manningham.Frank Sedgman Reserve could become a giant sewage farm servicing householders in Manningham.Frank Sedgman Reserve could become a giant sewage farm servicing householders in Manningham.frank sedgman reserve, yarra valley water, sewerage and sanitation -
Ballarat Heritage Services
Digital photographs, L.J. Gervasoni, Prof McIntyre and Philip Slobom, c2009
Environmental approach to preserving Kew Court House 4 June 2010 Paint stripping from older buildings can be a hazardous task. The City of Boroondara has found an environmentally sustainable solution for the works at local heritage icon, the Kew Police Station and Court House. Council used an organic based paint stripping alternative as part of the repairs to the rendering on the building facade. Over nearly three months, the damaged and unsound render was removed, the paint was stripped and the render was repainted. Usually, paint is removed via high pressure water cleaning or sandblasting. This is a harsh method and involves combining extreme high amounts of pressure, water and sand and is highly toxic. It also creates high noise levels. In this 'green' project, Council used a soy bean paint stripper. The process uses a paste-like substance, which is highly effective, non toxic and biodegradable, and applied by hand. Initially, a bandage is applied (much like a leg waxing strip) over the top of paste. It is allowed to dry and then the bandage is stripped off. Noise was kept to a minimum by using the paint stripping alternative. Scrapings and bandages are then bagged and sent to the tip as landfill, so it does not end up in our water supply. The waste and debris don’t run-off into drains, and the bags and bi-products are biodegradable. Studley Ward Councillor Phillip Healey explained that soy bean paint removal is not greatly used in Melbourne or the local government sector. "We know of special cases where it has been used, such as high profile projects like Sydney Harbour Bridge, but Boroondara is one of the first in Victoria to employ this natural plant-based paint-stripping treatment to a large-scale building," Cr Healey said. "What this means is that no harmful substances were used and no injury was caused, soy paint removal also preserves, protects and restores the heritage integrity and decorative stone masonry features of the historic building. "This is a terrific example of our commitment to 'enhancing the environment' which is one of our key directions in the 2010–15 Council Plan." The restoration of the Kew Court House and Police Station is expected to be completed in the year ahead. Council purchased the heritage building in 2007 with the intention for it to be restored and used for the community. The building required extensive renovation including repair of the slate roof and ventilation dome, and the renovation plans include a new foyer, bathrooms and kitchen to ensure the venue meets a broad range of community needs. Heritage Victoria helped fund the cost of the roof repairs with a grant of $250,000, along with the Australian Government contributing $330,000 through its Regional and Local Community Infrastructure Program. Restoration Underway Concept plans for a new performance and exhibition space at the Kew Court House and Police Station have been developed by the City of Boroondara. Two years ago, Council Purchased the Kew Court House and Police Station from the State Government for $825,000 with the intention for it to be restored and used for the community. The building requires extensive renovation including repair of the slate roof and ventilation dome. The renovation plans include a new foyer, bathrooms and kitchen to ensure the venue meets a broad range of community needs. The restoration has been assisted with a Federal Government grant of $330,000 under the Regional and Local Community Infrastructure Program. In 2008, Council was also successful in obtaining a Heritage Victoria Grant of $250,000 towards the costs of the roof repairs. Having satisfied the necessary permit requirements, works are about to commence using slate of a similar quality to the original. The City of Boroondara would like to thank all residents and businesses who have contributed to the Kew Court House Restoration Appeal which has raised $650,000. Special thanks go to a private donor who donated $250,000 and the Kew Senior Citizens Club which contributed $50,000. NEWS FLASH 14th March “Council moves to provide certainty for the restoration of the courthouse”. In a historic meeting last night 13th March 07 at Boroondara Council voted overwhelmingly to complete the purchase of the Kew Court House. The partnership continues between the Kew Court House Restoration Appeal and the Council to see this project through. The project now has the overwhelming support of Council. “It is no longer about “if” it is about “when” the doors will re open” said Prof Peter McIntyre. With the property secured the fundraising can now be completed without the encumbrances and we know the restoration will be undertaken as the funds become available from the appeal. Work can commence as soon as significant fund raising is achieved. “The community, philanthropists and corporations can now enter this project with certainty. 7th March At the Council meeting on 5th March, following many hours of debate a motion was passed by 5 to 4 vote to purchase the Kew Court House and Police Station outright. As of 7th March Cr Dick Menting lodged a rescission notice. This means that there was another Council meeting at 6pm, Tuesday 13th March at Council Chambers. MEDIA RELEASE - Kew, 3rd December 2006 APPEAL LAUNCHED TO SAVE A NATIONAL TREASURE On the morning of Saturday 18th. November 2006 the people of Kew were aroused by the triumphant sound of the Boroondara Brass which had assembled outside the former Kew Police Station. After four long years of neglect, the precinct was being heralded back to life, and what a heartwarming sound it was for all those early shoppers who gathered to hear Cr. Phillip Healey introduce Patrons and supporters of the Save the Court House campaign. Following the speeches, the "Thermometer" was unveiled and the Appeal was formally under way. The various committees have worked very hard during these past weeks. The Kew Court House Arts Association Inc. has been formed under the leadership of Graeme McCoubrie. This organization brings all the amateur theatre groups in the City of Boroondara together with a view to providing them with a permanent performing space within the former Court House. As well as intimate theatre, there will be provision for the staging of instrumental and choral performances before an audience of 40 to 50 people. The Police Station will compliment the function of the Court House by providing a venue for artist groups to exhibit their work, for the Historical Societies of Boroondara to meet, and for study groups to meet, for activities such as play and poetry readings. It will be a Hub for the Arts in Kew. Of course none of this can happen unless the money to pay for restoration of the buildings is raised, and we only have until March 2007 in which to do this. The City of Boroondara, Kew Historical Society and the East Kew Community Bank are working together as a team to make this dream a reality, but WE NEED YOUR HELP. This is a fantastic one-off opportunity, and it must not be wasted. Donations to the Appeal can be made through the Kew East Kew Community Bank or any branch of the Bendigo Bank, or through the Kew Historical Society Inc., P.O. Box 175 Kew Vic 3101. All donations over $2 are tax deductible through the Community Enterprise Foundation. End Media Release Kew Courthouse future looks bright The State Government has accepted an offer from the local government of Boroondara to purchase the former Kew Courthouse and Police Station, Minister for Finance John Lenders said today. In a joint statement with the Mayor of Boroondara, Councillor Jack Wegman, Mr Lenders said he was pleased that agreement had been reached and the contract of sale document finalised. “I welcome the Council making this step towards purchasing this property after recent negotiations,” Mr Lenders said. “The settlement date for the purchase of the property is March 2007. The State government sold the property to Council at a reduced cost of $825,000 for community use. The full value of the buildings on the commercial marketplace was estimated to be about $2million,” he said. Cr Wegman said the Contract of Sale provides that if the funds cannot be raised to restore the property for use as community buildings then they will be returned to the State government. In relation to this additional funding to restore and modernise the buildings, Council and the community will work together over the next eight months, with the encouragement of the State government, Cr Wegman said. Mr Lenders said both he and the Premier had advised the Council of fundraising opportunities to help the Council convert the property for its future use. Cr Wegman noted that applications for funding from the Community Support Fund and for State government heritage grants were being processed. “Council has agreed to a Memorandum of Understanding with the Kew Historical Society outlining arrangements for the Kew Court House Restoration Appeal and Council is delighted with the level of support shown by the community and is confident of a bright future for these historic buildings.” Mr Lenders said the Bracks Government is committed to securing the best outcome when buildings that have once served the community outlive their original purpose. “There is a responsibility for Governments to practice good financial management and achieve the best possible price when an asset is longer used by the State,” he said. “There is also a responsibility to consider the local community. The Government and City of Boroondara have worked hard to achieve a balance between these two interests.” The building ceased to operate as a courthouse in 1971 and as a police station in 2002. Part of the building was also used as a post office and this section of the building was sold by the Commonwealth in 1992 to a private owner and is currently run as a licensed restaurant. It is listed on the State's Heritage Register as a place of historical and architectural significance and is protected by the Victorian Heritage Act. Created: 30 August 2006 Last Update: 10 January 2007 kew, kew court house, phillip slobom, town crier, professor peter mcintyre -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl, J & G Meakin, Late 19th or early 20th Century
The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/This bowl was made by renowned pottery company J & G Meakin of England. The firm was established in the mid-1800's. The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl; white ceramic, round and tapering inwards towards base. Made by J and G Meakin England.On base, 'Ironstone China Reg SOL 391413' with symbolflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, mixing bowl, food preparation, j & g meakin, pottery, stoke-on-trent, kitchen equipment, ceramic -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl, Late 19th or early 20th Century
The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/ The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl white ceramic. Crack on side. Badly stained.Backstamp very faint and unable to be read.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, mixing bowl, food preparation, kitchen equipment, ceramic -
Ballarat Heritage Services
Photograph - Digital photographs, L.J. Gervasoni, Kew Historical Society in the Former Kew Court House, c2009
Environmental approach to preserving Kew Court House 4 June 2010 Paint stripping from older buildings can be a hazardous task. The City of Boroondara has found an environmentally sustainable solution for the works at local heritage icon, the Kew Police Station and Court House. Council used an organic based paint stripping alternative as part of the repairs to the rendering on the building facade. Over nearly three months, the damaged and unsound render was removed, the paint was stripped and the render was repainted. Usually, paint is removed via high pressure water cleaning or sandblasting. This is a harsh method and involves combining extreme high amounts of pressure, water and sand and is highly toxic. It also creates high noise levels. In this 'green' project, Council used a soy bean paint stripper. The process uses a paste-like substance, which is highly effective, non toxic and biodegradable, and applied by hand. Initially, a bandage is applied (much like a leg waxing strip) over the top of paste. It is allowed to dry and then the bandage is stripped off. Noise was kept to a minimum by using the paint stripping alternative. Scrapings and bandages are then bagged and sent to the tip as landfill, so it does not end up in our water supply. The waste and debris don’t run-off into drains, and the bags and bi-products are biodegradable. Studley Ward Councillor Phillip Healey explained that soy bean paint removal is not greatly used in Melbourne or the local government sector. "We know of special cases where it has been used, such as high profile projects like Sydney Harbour Bridge, but Boroondara is one of the first in Victoria to employ this natural plant-based paint-stripping treatment to a large-scale building," Cr Healey said. "What this means is that no harmful substances were used and no injury was caused, soy paint removal also preserves, protects and restores the heritage integrity and decorative stone masonry features of the historic building. "This is a terrific example of our commitment to 'enhancing the environment' which is one of our key directions in the 2010–15 Council Plan." The restoration of the Kew Court House and Police Station is expected to be completed in the year ahead. Council purchased the heritage building in 2007 with the intention for it to be restored and used for the community. The building required extensive renovation including repair of the slate roof and ventilation dome, and the renovation plans include a new foyer, bathrooms and kitchen to ensure the venue meets a broad range of community needs. Heritage Victoria helped fund the cost of the roof repairs with a grant of $250,000, along with the Australian Government contributing $330,000 through its Regional and Local Community Infrastructure Program. Restoration Underway Concept plans for a new performance and exhibition space at the Kew Court House and Police Station have been developed by the City of Boroondara. Two years ago, Council Purchased the Kew Court House and Police Station from the State Government for $825,000 with the intention for it to be restored and used for the community. The building requires extensive renovation including repair of the slate roof and ventilation dome. The renovation plans include a new foyer, bathrooms and kitchen to ensure the venue meets a broad range of community needs. The restoration has been assisted with a Federal Government grant of $330,000 under the Regional and Local Community Infrastructure Program. In 2008, Council was also successful in obtaining a Heritage Victoria Grant of $250,000 towards the costs of the roof repairs. Having satisfied the necessary permit requirements, works are about to commence using slate of a similar quality to the original. The City of Boroondara would like to thank all residents and businesses who have contributed to the Kew Court House Restoration Appeal which has raised $650,000. Special thanks go to a private donor who donated $250,000 and the Kew Senior Citizens Club which contributed $50,000. NEWS FLASH 14th March “Council moves to provide certainty for the restoration of the courthouse”. In a historic meeting last night 13th March 07 at Boroondara Council voted overwhelmingly to complete the purchase of the Kew Court House. The partnership continues between the Kew Court House Restoration Appeal and the Council to see this project through. The project now has the overwhelming support of Council. “It is no longer about “if” it is about “when” the doors will re open” said Prof Peter McIntyre. With the property secured the fundraising can now be completed without the encumbrances and we know the restoration will be undertaken as the funds become available from the appeal. Work can commence as soon as significant fund raising is achieved. “The community, philanthropists and corporations can now enter this project with certainty. 7th March At the Council meeting on 5th March, following many hours of debate a motion was passed by 5 to 4 vote to purchase the Kew Court House and Police Station outright. As of 7th March Cr Dick Menting lodged a rescission notice. This means that there was another Council meeting at 6pm, Tuesday 13th March at Council Chambers. MEDIA RELEASE - Kew, 3rd December 2006 APPEAL LAUNCHED TO SAVE A NATIONAL TREASURE On the morning of Saturday 18th. November 2006 the people of Kew were aroused by the triumphant sound of the Boroondara Brass which had assembled outside the former Kew Police Station. After four long years of neglect, the precinct was being heralded back to life, and what a heartwarming sound it was for all those early shoppers who gathered to hear Cr. Phillip Healey introduce Patrons and supporters of the Save the Court House campaign. Following the speeches, the "Thermometer" was unveiled and the Appeal was formally under way. The various committees have worked very hard during these past weeks. The Kew Court House Arts Association Inc. has been formed under the leadership of Graeme McCoubrie. This organization brings all the amateur theatre groups in the City of Boroondara together with a view to providing them with a permanent performing space within the former Court House. As well as intimate theatre, there will be provision for the staging of instrumental and choral performances before an audience of 40 to 50 people. The Police Station will compliment the function of the Court House by providing a venue for artist groups to exhibit their work, for the Historical Societies of Boroondara to meet, and for study groups to meet, for activities such as play and poetry readings. It will be a Hub for the Arts in Kew. Of course none of this can happen unless the money to pay for restoration of the buildings is raised, and we only have until March 2007 in which to do this. The City of Boroondara, Kew Historical Society and the East Kew Community Bank are working together as a team to make this dream a reality, but WE NEED YOUR HELP. This is a fantastic one-off opportunity, and it must not be wasted. Donations to the Appeal can be made through the Kew East Kew Community Bank or any branch of the Bendigo Bank, or through the Kew Historical Society Inc., P.O. Box 175 Kew Vic 3101. All donations over $2 are tax deductible through the Community Enterprise Foundation. End Media Release Kew Courthouse future looks bright The State Government has accepted an offer from the local government of Boroondara to purchase the former Kew Courthouse and Police Station, Minister for Finance John Lenders said today. In a joint statement with the Mayor of Boroondara, Councillor Jack Wegman, Mr Lenders said he was pleased that agreement had been reached and the contract of sale document finalised. “I welcome the Council making this step towards purchasing this property after recent negotiations,” Mr Lenders said. “The settlement date for the purchase of the property is March 2007. The State government sold the property to Council at a reduced cost of $825,000 for community use. The full value of the buildings on the commercial marketplace was estimated to be about $2million,” he said. Cr Wegman said the Contract of Sale provides that if the funds cannot be raised to restore the property for use as community buildings then they will be returned to the State government. In relation to this additional funding to restore and modernise the buildings, Council and the community will work together over the next eight months, with the encouragement of the State government, Cr Wegman said. Mr Lenders said both he and the Premier had advised the Council of fundraising opportunities to help the Council convert the property for its future use. Cr Wegman noted that applications for funding from the Community Support Fund and for State government heritage grants were being processed. “Council has agreed to a Memorandum of Understanding with the Kew Historical Society outlining arrangements for the Kew Court House Restoration Appeal and Council is delighted with the level of support shown by the community and is confident of a bright future for these historic buildings.” Mr Lenders said the Bracks Government is committed to securing the best outcome when buildings that have once served the community outlive their original purpose. “There is a responsibility for Governments to practice good financial management and achieve the best possible price when an asset is longer used by the State,” he said. “There is also a responsibility to consider the local community. The Government and City of Boroondara have worked hard to achieve a balance between these two interests.” The building ceased to operate as a courthouse in 1971 and as a police station in 2002. Part of the building was also used as a post office and this section of the building was sold by the Commonwealth in 1992 to a private owner and is currently run as a licensed restaurant. It is listed on the State's Heritage Register as a place of historical and architectural significance and is protected by the Victorian Heritage Act. Created: 30 August 2006 Last Update: 10 January 2007 Colour photograph of the Kew Historical Society holding an event in the Former Kew Court House.kew, kew court house, kew historical society, meeting, city of boroondara -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl
The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/ This bowl is an example of kitchenware used in the 19th century and still in use today.Bowl white ceramic plain that has two sets of edging around lip. Inside bowl has plaster designed to look like cooking mixture.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, kitchen equipment, ceramic -
Flagstaff Hill Maritime Museum and Village
Domestic object - Jug
The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/The form of the jug has been in use for many centuries.Stoneware jug. Two tone brown glaze with pierced lip behind spout. Spout chipped.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, jug, ceramic jug -
Dandenong/Cranbourne RSL Sub Branch
Atebrin Container
Atebrin was an anti-malarial supplied to Australian forces for use in tropical areas in WWII and Vietnam.This tin is representative of the experience of Australian service personnel serving in tropical areas throughout the 20th Century.Small green rectangular tin container. Embossed writing on the bottom. Hinged lid. Text inside the lid explaining the use of the contents. The tin is empty.ATEBRIN / (0.1 GRAMME) Tablet to be taken after a meal and followed by a large drink of water. The dosage (as ordered) in endemic areas, 1 tablet for every other day, except sundays (1 sheet per fortnight); in hyperendemic areas, 1 tablet every day, except sundays (1 sheet per week).malaria, atebrin, wwii, vietnam, medicine, treatment, tropical, new guinea, aif -
The Beechworth Burke Museum
Photograph - Lantern Slide, c1900
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 -
The Beechworth Burke Museum
Photograph - Lantern Slide, c1900
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 -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Thomas retroflexion pessary associated with Dr Frank Forster, c. 1901 to 1930
This type of pessary was used in the treatment of retroflexion of the uterus. Thomas’ Retroflexion Pessary is narrower in proportion to its length, while the greater bow is enlarged to a bulb-like form. It enjoyed great popularity and as such was manufactured in a great variety of sizes. Comprised of hard rubber because of its lightness and the high polish that may be given it. The shape can be adjusted by covering the device in petrolatum and heating it with a spirit lamp or immersing it in boiling water. Manufactured in three sizes, and could be combined with a cup and stem external support. See Allen & Hanburys Gynaecological instruments catalogue, page 707.Vulcanite pessary. Pessary is loosely horseshoe shaped, tapering to a point at the proximal end. The curve of the pessary at the distal end thickens and is rounded. Majority of the pessary is concave.intrauterine device, pessary -
Wonga Park Community Cottage History Group
Work on paper (Item) - Letter, Wonga Park 1984 Letter from Shire of Lillydale to Wonga Park & District Residents' Association with four alternative intersection treatments
The Wonga Park and District Residents' Association requested the Shire of Lillydale consider removing the crests on Jumping Creek Road Wonga Park east and west of the intersection with Yarra and Dudley Roads to improve visibility at the intersection. The Shire of Lillydale thought that this would simply increase the speed of traffic through the intersection and suggested a roundabout be built and came up with four alternative treatments. When they discovered that a roundabout would require water mains to be lowered and the M&MBW would not give a quote on the cost (which would be substantial) they opted for traffic islands instead. -
Flagstaff Hill Maritime Museum and Village
Equipment - Tooth Extractor, Late 19th - early 20th century
Toothaches have been with us since the evolution of teeth and extracting teeth. I wonder what poor Homo erectus did when suffering with a toothache. He probably just suffered and probably became very bad tempered. Ancient Dentistry Significant tooth decay did not appear until hunter-gatherer societies became agrarian. The change in diet included a large increase in carbohydrates which then led to tooth decay. Early man was primitive but he was also pretty smart. Some time around 8000 years ago someone in the area that is now Pakistan was using a drill to remove tooth decay. Examination of Neolithic skulls have revealed the handiwork of at least one very early dentist. A Sumerian text in about 5000 B.C. taught that the cause of tooth decay was tooth worms. Proposed cures for toothache were numerous. Early Egyptians wore amulets. An Egyptian named Hesy-Re, is known as the first dentist. Praise for his dentistry is inscribed on his tomb. Unfortunately it doesn’t delineate what he did to earn the praise. Pliny, the Elder, recommended finding a frog at midnight and asking it to take away the pain. The doctor to Emperor Claudius around 50 A.D. had his toothache patients inhale smoke produced by scattering certain seeds on burning charcoal and then rinsing the mouth with hot water. This was to expel the tooth worms. On the more practical side Aristotle and Hippocrates both wrote about the treatment of tooth decay. A primitive forceps was used for extracting teeth. Some dentists at that time were able to weave wire in the teeth to stabilize loose teeth. Medieval Torture From about 500 A.D. to 1100 A.D. monks were well educated and well trained and did some of the surgical procedures of the time. Barbers handled the rest of the operations, especially blood letting and tooth extractions. In 1163 the Pope put a stop to all surgeries by monks and the field was left open to the barbers. Barbers were, after all, very skilled with knives and razors. In fact, the barber pole, red and white spiraling stripes, is a symbol of the blood letting; red for blood. white for bandages. In the 1300s a Barbers’ Guild was established which divided the barbers into two groups: those with the skills and training to do procedures and those who were relegated to blood letting and tooth extractions. Pliers from a blacksmith’s foundry were the only device available. Barbers would often go to fairs and advertise painless tooth pulling. A shill in the audience would come on the stage, feigning severe toothache. The barber would pretend to extract tooth, pulling out a bloody molar he had palmed earlier. The supposed sufferer would jump for joy. The barbers set up near the bands at the fairs so that the music would drown out the screams of their patients. If the tooth was loose enough, the barber would tie a string around the tooth and yank hard to extract the tooth. This was a much less painful and dangerous procedure than the pliers. The pliers often fractured other teeth and sometimes the jaw. The procedure was far from sterile and infection was a common problem and some people bled to death. The Renaissance and the Rise of Tooth Decay In the 1400s refined sugar was introduced into Europe but only reached the tables of the wealthy. While their betters were munching on sweets, the poorer folk suffered fewer toothaches. Queen Elizabeth I was known for her blackened teeth. George Washington had a tooth extraction every year after age 22. He supposedly had a set of wooden false teeth but his dentures were actually ivory. The earliest instrument designed for tooth extraction was the dental pelican, which was shaped something like a pelican’s beak. The pelican was replaced in the 1700s by the dental key, which was fitted down over the affected tooth and was better able to grip the tooth. Both still often caused more damage than relief. The Development of Modern Dentistry Modern dental equipment began to be introduced in the 1800s about the time when dentistry became a profession and dental schools began to open. Ether was used starting in 1846 to anesthetize the pain and local anesthetics were introduced in the early 1900s. Modern dentists no longer have to seat their patients on the floor and have helpers to hold them down. Dentistry is as close to painless as possible now. There is no excuse to suffer the agony of a toothache these days. And extracting teeth is no longer dangerous. https://arizonadentalspecialists.com/the-surprising-history-of-extracting-teeth/ This tooth extractor was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Tooth extractor, dental surgical instrument. Metal with cross hatched pattern on handle. Stamped with maker's mark on hinge. Other stamps inside handles. Part of the W.R. Angus Collection.Stamped on hinge 'CASH & SONS ENGLAND'. Inside handles are 'C', 'P' and '27'.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, dental surgical instrument, tooth extractor -
Federation University Historical Collection
Document, Albert E. Stohr, Curriculum Vitae of A.E.Stohr, 1970, 19/01/1970
Albert E. Stohr was a member of the Council of the Ballarat School of Mines for 24 years, a member of the Council of the Ballarat grammar School for 24 years, represented all Provincial Sewerage Authorities in Victoria on the Plumbers and gasfitters registration Board of Victoria for 25 years, member of the Institution of Engineers (Australia) for 46 years, member of the Association of Professional Engineers of Australia for 22 years, and chairman of the Ballarat Group of the Association . Member of the Rotary Club of Ballarat for 24 years, and many other organisational.Five foolscap pages relating to the education and career of Albert Edward Stohr. Work places include: Broken Hill Proprietary Co. Ltd; Victorian Railways Construction Branch; Melbourne & Metropolitan Board of Works; Sewerage and Main Drainage Branch; Water Supply Branch; United States Army Services of Supply; Department of the Australian Army; Ballarat Water Commissioners; Ballarat Sewerage Authority. His projects include the White Swan Reservoir, Gong Gong Reservoir Spillway Channel; Installation of Venturi Meters at Brown Hill; Sewerage treatment Works; Nightsoil Dumping and Pan Washing Depot. stohr, bert stohr, a.e. stohr, white swan reservoir, engineering alumni, engineer, ballarat school of mines.