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

This shaped ink bottle made by Caldwell's is called a 'boat ink bottle'. It was shaped especially to hold a nib pen when the pen was not in use. The design of the bottle is sometimes called a ‘cottage’ or ‘boat’ shape. The Caldwell’s handmade glass ink bottle was mouth-blown into a two-piece mould, a method often used in the mid-to-late 19th century. The glass blower burst the bottle off the end of his blowpipe with a tool, leaving an uneven mouth and sharp edge on the bottle, which was usually filed. The bottle was then filled with ink and sealed with a cork. More expensive bottles would have a lip added, which was more time-consuming and costly to produce. The capacity for a bottle such as this was about 3 ½ oz (ounces) equal to about 100 ml. Pen and ink have been in use for handwriting since about the seventh century. A quill pen made from a bird’s feather was used up until around the mid-19th century. In the 1850s a steel point nib for the dip pen was invented and could be manufactured on machines in large quantities. The nis only held a small amount of ink so users had to frequently dip the nib into an ink well for more ink. Handwriting left wet ink on the paper, so the blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased as a ready-to-use liquid or in powdered form, which needed to be mixed with water. In the 1880s a successful, portable fountain pen gave smooth-flowing ink and was easy to use. In the mid-20th century, the modern ballpoint pen was readily available and inexpensive, so the fountain pen lost its popularity. However, artisans continue to use nib pens to create beautiful calligraphy. Caldwell’s Ink Co. – F.R. Caldwell established Caldwell’s Ink Company in Australia around 1902. In Victoria, he operated from a factory at Victoria Avenue, Albert Park, until about 1911, then from Yarra Bank Road in South Melbourne. Newspaper offices were appointed as agencies to sell his inks, for example, in 1904 the New Zealand Evening Star sold Caldwell’s Flo-Eesi blue black ink in various bottle sizes, and Murchison Advocate (Victoria) stocked Caldwell’s ink in crimson, green, blue black, violet, and blue. Caldwell’s ink was stated to be “non-corrosive and unaffected by steel pens”. A motto used in advertising in 1904-1908 reads ‘Makes Writing a Pleasure’. Stationers stocked Caldwell’s products and hawkers sold Caldwell’s ink stands from door to door in Sydney in the 1910s and 1920s. In 1911 Caldwell promised cash for returned ink bottles and warned of prosecution for anyone found refilling his bottles. Caldwell’s Ink Stands were given as gifts. The company encouraged all forms of writing with their Australian-made Flo-Eesi writing inks and bottles at their impressive booth in the ‘All Australian Exhibition’ in 1913. It advertised its other products, which included Caldwell’s Gum, Caldwell’s Stencil Ink (copy ink) and Caldwell’s Quicksticker as well as Caldwell’s ‘Zac’ Cough Mixture. Caldwell stated in a 1920 article that his inks were made from a formula that was over a century old, and were scientifically tested and quality controlled. The formula included gallic and tannic acids and high-quality dyes to ensure that they did not fade. They were “free from all injurious chemicals”. The permanent quality of the ink was important for legal reasons, particularly to banks, accountants, commerce, municipal councils and lawyers. The Caldwell’s Ink Company also exported crates of its ink bottles and ink stands overseas. Newspaper advertisements can be found for Caldwell’s Ink Company up until 1934 when the company said they were the Best in the business for 40 years.This pen and ink bottle set is of significance as the bottle has its original cork and retains remnants of ink, which was made from a recipe that at the time was over 100 years old, according to Caldwell.. The handmade, mould blown method of manufacture is representative of a 19th-century handcraft industry that is now been largely replaced by mass production. The bottle and its contents are of state significance for being produced by an early Melbourne industry and exported overseas. The pen and ink set is historically significant as it represents methods of handwritten communication that were still common up until the mid-20th century when fountain pens and modern ballpoint pens became popular and convenient and typewriters were becoming part of standard office equipment.Victorian boat ink bottle; small rectangular clear glass ink bottle with horizontal grooves made in the glass for resting and holding the pen. The set includes one pen and nib with the bottle and cork. The bottle is made by Caldwell's and contains its Flo-Eesi Blue Black Ink brand."Caldwell's Flo-Eesi Blue Black Ink."flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ink, nib pen, writing ink, writing, copying, banks, lawyers, commerce, student, permanent ink, flo-eesi, blue black ink, stationery, record keeping, handwriting, writing equipment, writing accessory, office supply, cottage bottle, boat bottle, mouth-blown bottle, two-part mould, sheer-lip bottle, burst-lip, cork seal, f r caldwell, caldwell’s ink company, albert park, south melbourne, inkstands, stencil ink, copy ink, quicksticker, zac cough mixture

This crate of bottles may have come from a wholesaler, business, stationer or school. The design of the bottles is sometimes called a ‘cottage’ or ‘boat’ shape. Each of the 70 Caldwell’s handmade glass ink bottles was mouth-blown into a two-piece mould, a method often used in the mid-to-late 19th century. The glass blower burst the bottle off the end of his blowpipe with a tool, leaving an uneven mouth and sharp edge on the bottle, which was usually filed. The bottle was then filled with ink and sealed with a cork. More expensive bottles would have a lip added, which was more time-consuming and costly to produce. The capacity for a bottle such as this was about 3 ½ oz (ounces) equal to about 100 ml. Pen and ink have been in use for handwriting since about the seventh century. A quill pen made from a bird’s feather was used up until around the mid-19th century. In the 1850s a steel point nib for the dip pen was invented and could be manufactured on machines in large quantities. The nis only held a small amount of ink so users had to frequently dip the nib into an ink well for more ink. Handwriting left wet ink on the paper, so the blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased as a ready-to-use liquid or in powdered form, which needed to be mixed with water. In the 1880s a successful, portable fountain pen gave smooth-flowing ink and was easy to use. In the mid-20th century, the modern ballpoint pen was readily available and inexpensive, so the fountain pen lost its popularity. However, artisans continue to use nib pens to create beautiful calligraphy. Caldwell’s Ink Co. – F.R. Caldwell established Caldwell’s Ink Company in Australia around 1902. In Victoria, he operated from a factory at Victoria Avenue, Albert Park, until about 1911, then from Yarra Bank Road in South Melbourne. Newspaper offices were appointed as agencies to sell his inks, for example, in 1904 the New Zealand Evening Star sold Caldwell’s Flo-Eesi blue black ink in various bottle sizes, and Murchison Advocate (Victoria) stocked Caldwell’s ink in crimson, green, blue black, violet, and blue. Caldwell’s ink was stated to be “non-corrosive and unaffected by steel pens”. A motto used in advertising in 1904-1908 reads ‘Makes Writing a Pleasure’. Stationers stocked Caldwell’s products and hawkers sold Caldwell’s ink stands from door to door in Sydney in the 1910s and 1920s. In 1911 Caldwell promised cash for returned ink bottles and warned of prosecution for anyone found refilling his bottles. Caldwell’s Ink Stands were given as gifts. The company encouraged all forms of writing with their Australian-made Flo-Eesi writing inks and bottles at their impressive booth in the ‘All Australian Exhibition’ in 1913. It advertised its other products, which included Caldwell’s Gum, Caldwell’s Stencil Ink (copy ink) and Caldwell’s Quicksticker as well as Caldwell’s ‘Zac’ Cough Mixture. Caldwell stated in a 1920 article that his inks were made from a formula that was over a century old, and were scientifically tested and quality controlled. The formula included gallic and tannic acids and high-quality dyes to ensure that they did not fade. They were “free from all injurious chemicals”. The permanent quality of the ink was important for legal reasons, particularly to banks, accountants, commerce, municipal councils and lawyers. The Caldwell’s Ink Company also exported crates of its ink bottles and ink stands overseas. Newspaper advertisements can be found for Caldwell’s Ink Company up until 1934 when the company said they were the Best in the business for 40 years.This large collection of similar ink bottles is of particular significance as the bottles have come from the same source, most have their original corks and some retain their original labels, which is rare. The method of manufacture of these bottles is also representative of a 19th-century handcraft industry that is now been largely replaced by mass production. The bottles and their contents are of state significance for being produced by an early Melbourne industry and exported overseas. This case of ink bottles is historically significant as it represents methods of handwritten communication that were still common up until the mid-20th century when fountain pens and modern ballpoint pens became popular and convenient and typewriters were becoming part of standard office equipment.Ink bottles in a wooden crate; 70 rectangular, hand-blown clear glass ink bottles. They have side seams, uneven thickness, especially at the bases, and rough, burst-off mouths. The shoulders on the long sides have horizontal grooves used for pen rests. The bottles vary; some have labels, some contain remnants of blue-black ink, and many have their original corks. The glass has bubbles and imperfections. The remnants of printed labels are on white paper with a swirly border and black text. The bottles contained Caldwell’s blend of blue black ‘Flo-Eesi’ ink.Printed on label; “CALDWELL FLO-EESI BLUE BLACK INK” “ - - - - “ Printed script signature “F.R. Caldwell”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, ink, nib pen, writing ink, writing, copying, banks, lawyers, commerce, student, permanent ink, flo-eesi, blue black ink, stationery, record keeping, handwriting, writing equipment, writing accessory, office supply, cottage bottle, boat bottle, mouth-blown bottle, two-part mould, sheer-lip bottle, burst-lip, cork seal, f r caldwell, caldwell’s ink company, albert park, south melbourne, inkstands, stencil ink, copy ink, quicksticker, zac cough mixture

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doilies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. This book has photographs and detailed instructions for a wide range of tatted edgings and insertions suitable for household linens such as towels, doilies and tablecloths as well as patterns for whole mats. Stanley E. Mullen (a businessman) developed Semco Pty Ltd which began as a Melbourne based importation company in 1907. The first three letters of Semco's name were his initials. In 1915 it began manufacturing women's apparel, whitework and transfer patterns. In 1924 the company moved to Black Rock, Victoria and continued to produce an extensive range of needlework patterns and handcraft instruction booklets, threads etc. up until the late 1970's. Semco had a staff that included many young women. It was noted by E.J. Trait (editor of the local newspaper "Standard News") that the firm provided them with good working conditions and the correct rate of pay for women in a time of war - the starting rate for 15 year olds, mainly girls at Semco was 25 shillings per week. During World War 2, Manpower Regulations could be used to coerce workers to move into jobs that supported the war effort, but Trait argued that being employed at Semco could make this unlikely as the firm made some goods essential for the war effort. He even suggested that women be encouraged to produce needlework items (and play a part in the war effort) by sending them as presents, to the troops up north. He also heaped praise on the Semco workplace - noting that no Saturday work was the norm, allowing employees to shop and have "hair-do's" before enjoying a relaxing weekend! Semco also had a female cricket side in the women's Saturday association. After the war the firm stayed in production until the early 1990's when it was taken over by Coates-Paton Pty Ltd. Norma Benporath (1900 - 1998) was an expert in tatting techniques and taught and published extensively on the subject. She was born in New Zealand with impaired sight but cataract surgery restored 50% vision to one eye. She was inspired to learn tatting whilst watching her aunt tat and being told that tatting did not require as much sharp vision as embroidery. She quickly learnt to design her own patterns and published over 1000 tatted lace patterns between 1929 and 1952. She became a regular contributor to magazines (such as Home Beautiful) and newspapers across Australia. Her designs were also published in New Zealand, South Africa as well as the U.K. and U.S.A. When Semco, a thread manufacturer, noticed a rise in the sale of fine crochet threads, they realized they had an untapped market to explore. Norma designed a collection of tatting patterns for Semco that were used to help promote their threads. Norma also worked with Semco to produce a line of threads and shuttles specifically suited to tatting. In 1997, Norma was inducted into the "Order of Australia" for "Service to the craft of tatting as a designer and through the international publication of her patterns".This item is an excellent example of the needle work being enjoyed by women in the 1940's in Australia and the skills of the Australian designer, Norma Benporath. It is also an example of the trend that emerged for craft companies such as Semco to publish pattern books in order to advertise their own materials.A 32 page soft cover instruction book with green front and back covers showing two tatted doily designs. The book includes black and white photographs and written patterns by Norma Benporath.Front cover - "TATTING" "For / EXPERTS/ and / BEGINNERS" "By/Semco" "SEMCO INSTRUCTION BOOK" "No. 16" "WITH ILLUSTRATIONS AND INSTRUCTIONS" "9" Back cover - "FOR INSTRUCTIONS FOR WORKING SEE PAGE 22" "Published by Semco Pty. Ltd." "BLACK ROCK, 29, VIC"flagstaff hill maritime museum and village, warrnambool, great ocean road, tatting, tatting instruction book, tatting patterns, tatting shuttle, semco, semco pty ltd, norma benporath, needlework, handcrafts, household linen, craftwork

SHARP DOWNPOUR. ONE INCH IN 45 MINUTES. SOUTHERN SUBURBS DELUGED. TRAIN STOPPED AT SOUTH YARRA. One of the sudden downpours of rain which occasionally fall in Melbourne occurred yesterday afternoon, when nearly an inch of rain fell in the course of three quarters of an hour, and caused a flood for an hour or two in certain localities. During the early part of the day, the sky had been clouded over, but there was nothing to indicate a storm of such intensity as that which followed. At about half-past 1 o'clock residents of South Yarra, South Melbourne, Prahran, and St. Kilda noticed a few drops of rain. Still, it appeared unlikely that there would be anything exceptional, until with startling suddenness at about 10 minutes to 1 o'clock, one of the heaviest downpours within the memory of residents burst upon those suburbs. A strange feature of the storm was that it was practically confined to an area of about three miles square. The city was but little affected, though at a spot as close as the Observatory 86 points of rain were recorded in three-quarters of an hour. Thunder and lightning accompanied the downpour, which was cyclonic in character, the rain driving heavily from all points of the compass as the cyclone passed. It was in South Yarra and Prahran that the rain fell heaviest. Within a few minutes after it commenced, the low-lying portions of Toorak-road and practically the whole length of Chapel-street were under water. The depression at the intersection of Toorak-road and Darling-street speedily filled to the dimensions of a small lake. Several shops were inundated, while the water from the higher levels rushed down like a mountain torrent, and in several in-stances swept through the rear of houses and shops, carrying furniture in a floating mass against the further walls. In one case a footbridge was carried bodily away and dashed to pieces. Darling-street itself Great Davis-street, and other low-lying and flat thoroughfares in the vicinity became flooded from kerb to kerb, while on the other side of the railway-bridge the valley between Kensington-road and River-street became filled for some minutes to a depth of several feet. Meanwhile the waters from South Yarra hill, seeking a lower level, found it in the railway cutting, and the excavations from South Yarra station to Prahran on the one line, and to the Chapel-street bridge on the other, were converted into a couple of canals. At the platforms at South Yarra the water was two feet deep on the permanent way, and towards Hawksburn, at the sudden depression under Chapel-street bridge, it was at one time deep enough to cover a tall man's head. Into this swirling mass of water the 1:50 p.m. train from Oakleigh plunged on its way to Melbourne. The impact caused a mighty fountain of water to rise to a height of about 20 feet above the level of Chapel-street and send clouds of spray in all directions. Under the belief that a terrible explosion had occurred residents braved the rain and rushed to the spot, only to find that the train had been brought to a stand-still in the middle of what seemed to be a river. The water was so high that it had entered the fire-box from below, extinguishing the fires and cutting off the steam supply. In the meantime the officials at the South Yarra station had been preparing for emergencies. Inspectors were on duty at intervals along the line, and the moment the alarm was given an extra engine was backed carefully down and continued on to connect with the stranded train without losing its own power. There was a delay of about ten minutes in the service for an hour or two, but by 5 o'clock all the trains were running on time again, and the water had run off all but the spot beneath the Chapel-street bridge. Here the water remained about four feet deep until nightfall, and throughout the afternoon several hundreds of people including biograph operators and photographers, were gathered around watching each train pass through. Even with the water two feet lower, this was a work attended with considerable difficulty. Each train had to absolutely force its way through the weight of water, almost enveloped by the spray thrown up, and it was only just able to negotiate the "ford" by using every ounce of steam. ... The Argus, 26 January 1907, p19.The item forms part of the Laurie Bennett collection of thirty-six postcards and photographs of Kew and early Melbourne, donated to the Kew Historical Society in 1980. The postcards in the Bennett collection, like other images in the Society's holdings date from the 1890s to the present and comprehensively indicate points-of-view or scenes considered historically, aesthetically or socially significant in the period in which they were produced.Postcard depicting a flood at South Yarra Station in 1907. The title and photographer's name are identified on the front of the postcard. Donated by L. Bennett, 1980flood - south yarra, trains - melbourne, postcards, r mcgeehan - prahran

Thomas Bell Darling purchased 176 acres from the Toolern Creek to Ferris Road. A house and bluestone barn/stables were built. The property was owned by Ralph Parkinson, followed by Richard Manning. SUMMARY – Darlingsford – Auction 1910 Darlingsford – Auction 1910 Melton Express October FRIDAY, October 28th At Three O’Clock At the RAGLAN HOTEL, MELTON SUBDIVISIONAL SALE of the DARLINGSFORD ESTATE, MELTON. Having a long frontage to the TOOLERN CREEK. In the Estate of the late RICHARD MANNING’ W. S. KEAST and L.A. FAIRBAIRN & CO., Auctioneers (in conjunction). Have received instructions from R.F. and J.L. Robertson, executors of Richard Manning deceased to offer by Public Auction, property almost adjoining Melton township, and having a frontage to the Toolern Creek, subdivided in to four lots as under:- Lot 1. – The homestead block containing 176 acres, being portion A, section 11, parish Kororoit together with the improvements, which consist of a 6-roomed stone house, milking shed, dairy, U.G. tank. Lot 2 – 177 acres 2 rood 23 perches, being Crown portion B of section 11 parish Kororoit. This block adjoins the homestead and is partly fenced. Lot 3 – 187 acres, Crown allotment C, section 11, parish Kororoit. adjoining the above lot. Lot 4 - 157 acres 1 rood 27 perches, being Crown allotment 9, section 12, parish of Kororoit. This block is only divided from the above lots by road, and adjoining Messrs. McVean and Gaitskill’s properties. This is one of the best known properties in the Melton district as a cultivation an grazing form, and its close proximity to the township makes it a very valuable, and portion of which could be cut into township blocks and should command a ready sale. For absolute sale. Terms- one fifth cash, one fifth in eight years, balance in 7 years with interest a the rate of 4 1/2 percent. Plan on application For further particulars apply W.S. KEAST, 610 Collins street, Melbourne; and L.A. FAIRBAIRN & Co., St James-buildings, Williams street, or at Bacchus Marsh; and as to the title, Dugdale and Creber, St. James-buildings, William Street Melbourne. Express November 5, 1910 On Friday last, Mr W.S. Keast and Messrs L.A. Fairbairn & Co., in conjunction, offered at the Raglan the Manning Estate known as Darlingsford, comprising of 700 acres, divided into four lots. Lot 4 was submitted first and passed in at L8 per acre. Lot 1 was then put up and went up to L13 per acre, at which it was also passed in. Lot 3 was next offered, and there being no bid was also passed in. Lot 2 was not offered. Express March 18, 1911 The Manning Estate of Darlingsford 600 acres was sold to Mr. Ernie for an undisclosed price. Note: Map KOROROIT COUNTY OF BOURKE Crown Grant Section 11 Portion A Thomas. B. Darling 176 . 0 . 0 acres on 29.3.1853 Lot 1 Portion B A. Russell 170 . 0 . 0 acres on 29.3.1853 Lot 2 Portion C Peter Inglis 176 . 0 . 0 acres on 29.3.1853 Lot 3 Section 12 Portion 3 P. Inglis 157 . 1 . 27 acres on 17.17.1863 Total 176 170 176 157. 1.27 679 . 1.27 acres November 5th 1910 On Friday night last Mr W S Keast and Messrs L A Fairbairn & Co, in conjunction offered at the Raglan Hotel the Manning Estate known as Darlingsford, comprising of 700 acres, divided into four Lots. Lot 4 was submitted first, and was passed in at L8.0.0. per acre. Lot 1 was then put up and went to L13.0.0. per acre at which it was passed in. Lot 3 was next offered, and then Lot 3 was next offered, and then being no bid was passed in. Lot 2 was not offered. October 22nd Notice of sale. 700 acres of splendid land close to the railway station. Divided onto 4 Lots 3 of which are maiden land and the whole of the acres is chocolate soil. No 1 Lot belonged to the late Mr Ralph Parkinson, and for years was liberally supplied with manure and crushed bones, and is capable of producing many crops.. The property being sold to wind up the Estate. Gisborne Gazette Friday December 17th 1911 Mr Sharp has sold his farm at the back of the township to Mr. E Barrie; price L15/10/ per acre. Agreement between Thomas Bell Darling and Ralph Parkinsonlocal identities

The Rob Roy Hill Climb originated in 1935 on the property of former Heidelberg Mayor, William Clinton, where he reared the Rob Roy breed of miniature ponies. He established Pleasure Grounds on part of the property attracting groups of Sunday visitors from Melbourne's inner suburbs. Visitors enjoyed a picnic area, pony rides, a dance hall and a tap room. Young men would ride their BSA or Harley Davidson motorcycles to the property which led to regular club-organised hillclimb meetings between 1930 and 1936. In 1935 Clinton offered the use of his property to the Light Car Club of Australia for their hillclimbs. The track was sealed that same year and the hillclimb at Clintons Road was one of only three specially designed bitumen surface hillclimbs in the world, the others being Shelsey Walsh and Prescott Hillclimbs in the UK. The first Light Car Club of Australia hillclimb was held at Rob Roy in February 1937. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p133 About six times a year the unlikely sound of car engines emerges from deep in the heart of Christmas Hills.* Usually a quiet retreat, the Hills are home to one of the world’s oldest purpose-built motor sport venues - the Rob Roy Hillclimb. When sealed in 1939, the hillclimb at Clintons Road was one of only three specially designed bitumen surface hillclimbs in the world, the others being Shelsley Walsh and Prescott Hillclimbs in the UK.1 The Rob Roy Hillclimb originated in 1935 on the property of former Heidelberg mayor, William Clinton, where he reared the Rob Roy breed of miniature ponies. Rob Roy was the Scottish folk hero and outlaw. On part of his property Clinton established Pleasure Grounds, attracting Sunday parties from Melbourne’s inner suburbs. Visitors enjoyed a picnic area, pony rides, a dance hall and a tap room.2 Young men riding on their BSA or Harley Davidson bikes led to club-organised regular hillclimb meetings, between 1930 and 1936. In 1935 Clinton offered his property to the Light Car Club of Australia for their hillclimbs. In February 1937, the first Light Car Club of Australia hillclimb meeting was held at Rob Roy. Jack Day achieved the fastest time that day for the 760 yard (695m) track at 36 seconds in a Ford V8 engined Bugatti Special. At first the climb was just a dusty gravel track, but in 1939 it was up-graded and bituminised. Today the 695 metre track begins on a slight incline, proceeds through a sharp right turn, which formerly passed a rusty iron shed, now remembered by the name Tin Shed Corner. The track continues down a slight incline to a level stretch along the top of an embankment holding back a half-acre (0.2ha) dam, then up to a one-in-three gradient. The track then winds uphill through several left turns to the finish line. In 1939 Frank Kleinig reduced the record to 29.72 seconds in an MG Hudson. Throughout World War Two the Rob Roy Hillclimbs were suspended, but were resumed in 1947. The hillclimbs consistently attracted crowds averaging 500 to 600 people, peaking at 2000, until the hillclimb was destroyed by the 1962 bushfires. The meetings included nine Australian Hillclimb Championships, with the first in 1938 won by Peter Whitehead in his ERA. Eight of the Outright and Class record holders were Australian Grand Prix winners including Jack Brabham, who became a triple F1 World Champion. The Light Car Club of Australia held 61 meetings at Rob Roy. Events usually included Touring, Gran Turismo, Production, Sports, Racing and Vintage cars and in the latter years Go-carts. These meets suddenly stopped after the 1962 bushfire destroyed the access bridge on the property leading to the track area, although fortunately Clinton saved his home. The club then established the Lakeland Hillclimb venue close to Lilydale.3 From 1979 to 1987 the MG Car Club ran hill climbs at the Templestowe Hillclimb until the land was to be sub-divided. In 1991 the MGCC approached the Shire of Nillumbik about using the derelict Rob Roy venue. In 1992, after much lobbying, the club signed a ten-year lease from Melbourne Water, which has been renewed. The original track was faithfully reconstructed. Access roads were improved and guard rails were installed on the causeway. Permanent structures were rebuilt and tonnes of rubbish removed. This was made possible by an immense amount of voluntary work by MGCC members and financial support from the newly formed Friends of Rob Roy. In February 1993 the first Return to Rob Roy Historic Meeting was run with a huge spectator attendance of around 1000 enthusiasts. In September 2007, the Nillumbik Shire Council gave the hillclimb heritage protection. This acknowledged the property’s significant contribution to early Australian motor sport with its social connection to William Clinton and the local community.4 *Christmas Hills was named after emancipated convict and shepherd David Christmas, lost in these hills.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, rob roy hill climb, clintons road, light car club of australia, william clinton

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

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

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

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/Ceramics have evolved over thousands of years.White earthenware dinner plate. Crazing evident all over.Backstamped ‘Made in England S LTD’flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ceramics, tableware

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/Ceramics have evolved over thousands of years.A white earthenware side plate with a gadroon edge. Has water marks and chips on front.‘Johnson Bros England Reg No 15587’flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, johnson bros, ceramics, tableware

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/Ceramics have evolved over thousands of years.Earthenware dessert plate, cream colour. Made by Alfred Meakin, England. Backstamped ‘Alfred Meakin England’. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, ceramics, earthenware, kitchenware

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

[article by Diana Bassett-Smith in EDHS Newsletter No. 117, November 1997:] MONUMENT HUNTING THE HUME AND HOVELL WAY - Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman who had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place" by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off. By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Colour photographactivities, hume and hovell, monument, seymour

[article by Diana Bassett-Smith in EDHS Newsletter No. 117, November 1997:] MONUMENT HUNTING THE HUME AND HOVELL WAY - Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman who had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place" by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off. By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Colour photographactivities, hume and hovell, bridge

MONUMENT HUNTING THE HUME AND HOVELL WAY (Newsletter No. 117, November 1997, by Diana Bassett-Smith) Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman wh9 had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place: by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Diana Bassett-Smith. Record of the Society's history of activities - Spring 1997 excursionRoll of 35mm colour negative film, 6 stripsFuji 200shire of eltham historical society, activities, pretty hill, seymour, benalla, hume and hovell, monuments

MONUMENT HUNTING THE HUME AND HOVELL WAY (Newsletter No. 117, November 1997, by Diana Bassett-Smith) Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman wh9 had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place: by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Diana Bassett-Smith. Record of the Society's history of activities - Spring 1997 excursionRoll of 35mm colour negative film, 6 stripsFuji 200shire of eltham historical society, activities, pretty hill, seymour, benalla, hume and hovell, monuments

MONUMENT HUNTING THE HUME AND HOVELL WAY (Newsletter No. 117, November 1997, by Diana Bassett-Smith) Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman wh9 had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place: by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Diana Bassett-Smith. Record of the Society's history of activities - Spring 1997 excursionRoll of 35mm colour negative film, 6 stripsFuji 200shire of eltham historical society, activities, pretty hill, seymour, benalla, hume and hovell, monuments

MONUMENT HUNTING THE HUME AND HOVELL WAY (Newsletter No. 117, November 1997, by Diana Bassett-Smith) Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman wh9 had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place: by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Diana Bassett-Smith. Record of the Society's history of activities - Spring 1997 excursionRoll of 35mm colour negative film, 6 stripsFuji 200shire of eltham historical society, activities, pretty hill, seymour, benalla, hume and hovell, monuments

MONUMENT HUNTING THE HUME AND HOVELL WAY (Newsletter No. 117, November 1997, by Diana Bassett-Smith) Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman wh9 had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place: by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Diana Bassett-Smith. Record of the Society's history of activities - Spring 1997 excursionRoll of 35mm colour negative film, 6 stripsFuji 200shire of eltham historical society, activities, pretty hill, seymour, benalla, hume and hovell, monuments

MONUMENT HUNTING THE HUME AND HOVELL WAY (Newsletter No. 117, November 1997, by Diana Bassett-Smith) Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman wh9 had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place: by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Diana Bassett-Smith. Record of the Society's history of activities - Spring 1997 excursionRoll of 35mm colour negative film, 6 stripsFuji 200shire of eltham historical society, activities, pretty hill, seymour, benalla, hume and hovell, monuments

MONUMENT HUNTING THE HUME AND HOVELL WAY (Newsletter No. 117, November 1997, by Diana Bassett-Smith) Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman wh9 had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place: by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Diana Bassett-Smith. Record of the Society's history of activities - Spring 1997 excursionRoll of 35mm colour negative film, 6 stripsFuji 200shire of eltham historical society, activities, pretty hill, seymour, benalla, hume and hovell, monuments

MONUMENT HUNTING THE HUME AND HOVELL WAY (Newsletter No. 117, November 1997, by Diana Bassett-Smith) Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman wh9 had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place: by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Diana Bassett-Smith. Record of the Society's history of activities - Spring 1997 excursionRoll of 35mm colour negative film, 6 stripsFuji 200shire of eltham historical society, activities, pretty hill, seymour, benalla, hume and hovell, monuments

MONUMENT HUNTING THE HUME AND HOVELL WAY (Newsletter No. 117, November 1997, by Diana Bassett-Smith) Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman wh9 had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place: by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Diana Bassett-Smith. Record of the Society's history of activities - Spring 1997 excursionRoll of 35mm colour negative film, 6 stripsFuji 200shire of eltham historical society, activities, pretty hill, seymour, benalla, hume and hovell, monuments

MONUMENT HUNTING THE HUME AND HOVELL WAY (Newsletter No. 117, November 1997, by Diana Bassett-Smith) Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman wh9 had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place: by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Diana Bassett-Smith. Record of the Society's history of activities - Spring 1997 excursionRoll of 35mm colour negative film, 6 stripsFuji 200shire of eltham historical society, activities, pretty hill, seymour, benalla, hume and hovell, monuments

MONUMENT HUNTING THE HUME AND HOVELL WAY (Newsletter No. 117, November 1997, by Diana Bassett-Smith) Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman wh9 had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place: by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Diana Bassett-Smith. Record of the Society's history of activities - Spring 1997 excursionRoll of 35mm colour negative film, 6 stripsFuji 200shire of eltham historical society, activities, pretty hill, seymour, benalla, hume and hovell, monuments

MONUMENT HUNTING THE HUME AND HOVELL WAY (Newsletter No. 117, November 1997, by Diana Bassett-Smith) Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman wh9 had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place: by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Diana Bassett-Smith. Record of the Society's history of activities - Spring 1997 excursionRoll of 35mm colour negative film, 6 stripsFuji 200shire of eltham historical society, activities, pretty hill, seymour, benalla, hume and hovell, monuments

MONUMENT HUNTING THE HUME AND HOVELL WAY (Newsletter No. 117, November 1997, by Diana Bassett-Smith) Sunday October 26 1997 dawned bright and very warm. Some twenty-five members, complete with picnic baskets, met outside the Eltham Library awaiting the Cobb and Co. large coach which would be taking us on the second leg of our travels along the route of the early explorers Hume and Hovell. Stephen West was our very good driver for the day. He would be guided around the circuitous route by Russell Yeoman wh9 had made a detailed study, not only of the intended route, but of the story of these two explorers. During the trip Russell regaled us with poetry, quotations from the Journals and the History of the Shire of Seymour, "The New Crossing Place: by Martindale, 1982, (now Mitchell Shire due to the recent amalgamations). We headed towards the Hume Highway via Greensborough and Cooper Street and proceeded north to our first stop, noting on the way Monument Hill in the distance which is near Kilmore and, according to Russell, well worth the effort to visit as the view across the valley is magnificent. Past Sunday Creek Valley, Mt Piper and Mt Disappointment, all traversed and noted and named by them. We passed through Tallarook, then onto Seymour where we took photos of the monument telling us that Hume and Hovell had passed through on the 28th of October 1824. We also deviated down Hume and Hovell Road viewing deer and emu farming and the Bellbourie property now a sanctuary. Leaving Seymour behind we travelled up the Avenel Road to the Avenel monument, pyramidal in design of four reducing square blocks with a sharply pointed peak, erected in 1924 in memory of the 1824 exploration. The day was warming up and the countryside showing the dryness of the current drought. A parallel note had been made in their journal too of 1824 of the drought appearance of the country they were traversing. At Seven Creeks, Euroa we stopped for some minutes to check the monument placed 20th November 1924 to commemorate their passage on the 29th December 1824. More photos. Russell had pointed out the abrupt termination of the distant ranges which is noted in their journal. The next monument is beside the road at the entrance to Honey Suckle Creek Caravan Park, Violet Town. The squarish shaped monument some eight feet high is topped with a simple steel cross, and was to mark the date of 28th December 1824 and built for the 20th November 1924. By now it was 12.20 and nearly lunchtime as we drove along the Warranbayne Road to Roach's Road, monument hunting without success. Though there is a large, what appears to be an old timber sign which was hard to read, maybe this was the lost monument. In many of the paddocks hay had been cut and baled or was being cut, what a contrast to the rugged country they had passed through which was smoky from the fires of the natives burning off By 1.00 pm we were at Benalla and pulled up beside the park where abundant beds of roses filled the air with their scent and the smell of barbecued food twitched the nostrils whilst the cheerful sounds of other picnickers could be heard throughout the park. We left the bus and collected up our picnics, dispersed to the various tables and enjoyed the shade from the various European trees. 2.00 pm and we were on the road again driving along the Benalla, Mansfield, Yea road. The Swanpool monument states that they passed four miles south and returned three miles north. Then we stopped at the Barjarg monument which notes that they camped near this spot. It is again a pyramidal monument and this time topped with a steel arrow indicating their route of the 29th November 1824. Half an hour later we came to another monument, again with a steel arrow marker on top and the plaque dated the 2nd of 12th 1824. Erected on the 12th of 12th 1924. "They blazed the way that we might inherit the land." Another square based and needle topped monument appeared at Yarck near Yea and this plaque records the date of 3 December 1824. Near McGuigans Road Russell related that the expedition had lost a dog but it had found them next day, the dog was apparently torn by a kangaroo. A short while later Russell reminded us here of the problems they encountered in crossing the Goulburn River near Molesworth where banks were high, water deep and wide. "Good coat of grass but quite dry due to drought". At Yea we stopped for afternoon tea and raided the last of our picnics and looked at the monument to their journey of 1824, situated at a corner of the gardens near the bowling green. No photo – we were out of film. We returned home via Kinglake West and Whittlesea past the Yan Yean Reservoir, not full. 5.00 pm back at Eltham we emptied out of the bus and everyone, including Joan Cole, collected their things, Joan also had the major souvenir of the day, a large carp she had picked up from the river bank, her cat was in for a great feast. The day was made so interesting by the informed commentary which Russell provided. His background knowledge of the route and nature of the journey could only have come from many hours of reading and driving the area. Thank you to Russell and to everyone who made the day so informative and pleasurable. Diana Bassett-Smith. Record of the Society's history of activities - Spring 1997 excursionRoll of 35mm colour negative film, 6 stripsFuji 200shire of eltham historical society, activities, pretty hill, seymour, benalla, hume and hovell, monuments