This timber fragment is from the shipwreck of the SCHOMBERG (1855). The bow of the ship broke off after an unsuccessful salvage attempt to tow her off the Peterborough reef. At the wreck-site the submerged hull points north towards the beach but the front section is missing. Parts of the bow have been carried away by the eastward bearing ocean currents and have come ashore on the western coast of New Zealand’s South Island. Don Charlwood writes in Wrecks & Reputations (1977) that in 1871 “a piece of wreckage over 20 feet long and 12 feet wide was brought out” by land from its remote location at Tauperika Creek. In 1875 “an even larger section was brought out by sea”. It was suggested at the time that these relics of a large wooden sailing ship were from the wreck of the SCHOMBERG some 20 years earlier on the Victorian coast. “To corroborate the theory”, Charlwood continues, “a piece was sent to Halls of Aberdeen [the ship’s builders in Scotland]. They identified it as having come from the ship they had launched with such pride in 1852.” Charlwood, whose great-grandparents were passengers on the SCHOMBERG’s fateful maiden voyage, acquired some samples of the wreckage timber recovered in New Zealand, and brought them back with him to Australia. In 1976 “comparison was made of timbers from the New Zealand find and timber from the remains of the hull at Peterborough. They proved to be from the same ship.” The extraordinary journey of these pieces of wood from the once mighty clipper ship SCHOMBERG came to an end in 1984, when they were given to Flagstaff Hill by the author, and reunited with other shipwreck timbers and copper bolts from the vessel that are on display at the Maritime Village. The shipwreck of the SCHOMBERG is of State significance - Victorian Heritage Register S612A piece of wood broken from the timbers of the shipwrecked SCHOMBERG (1855, Peterborough) and retrieved from the southwest coast of New Zealand’s South Island. The artefact is a light grey colour with plain long grain and bears a reddish stain on parts. Part of a drilled hole is red stained with traces of corroded metal still evident. The piece appears to have split off from other fragments that are in the Flagstaff Hill collection (6257, 6258) and it is in fragile condition.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, schomberg, shipwreck timber, don charlwood, ‘wrecks & reputations’

The wooden patterns are part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. It may fit together with one of the other patterns with a similar outline. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; a pair of blocks that form a rectangle with a carved centre hole and disc shape inside. The block is made from laminated pieces of wood with cut corners. Both sides have four drilled holes in a square configuration but in different positions. The cut faces and the space carved into them are painted red; one piece has two dowel pins that fit into two drilled holes on the other. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912

The wooden pattern was possibly made for casting a part for Craftman Marine, makers of engines for boats and other machines. It is part of a set that is stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; rectangular wooden block with a corner cut diagonally. A five-sided shape has been carved into the centre, with one side curved inwards and slightly shallower than the other sides. The cut-out area is painted black. Three holes are drilled in the cut-out side to align the pattern with another piece of work. A wooden slat is fixed across the diagonal side. The back of the pattern has a handwritten inscription, possibly by two writers. The pattern is part of a set of foundry patterns from Briggs Brass Foundry and is connected to Craftman Marine.In black handwriting: "1 # H AL" Handwritten in a different hand: "CRAFTMAN MARINE" Written the the first hand: BRIGGS" (or "BRICK")flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912, craftman marine, craftsman marine

The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. It may fit together with one of the other patterns with a similar outline. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century.Pattern; thick square mostly unopainted wooden block with a solid half-cylinder added to the top, which has rounded shoulders. A disc is added to the front, aligned with the curve at the top. The top curve has orange paint and the dial is pink. Three holes are drilled in the back, in a triangular configuration. It is similar in shape to a mantle clock or an early-style radio. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912

The wooden pattern is part of a set that is stored in a strong wooden crate and may be part of another similar pattern. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; unpainted, square wooden block with a semi-circle of dowel added to the centre of the side with rounded corners. Three short dowel pegs are inserted on one flat side; one below the semi-circle and one near the lower corners in an overall triangle configuration. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912

Hardcovered book, half leather bound with marbled paper. Formerly book number 4040 from the Ballaarat East Public Library. Contents include: new pit-saw, self-moving carriage (car), Lord Worcestor's steam engine, extinction of fires, Cameron's Soda Water Apparatus, Newton's Lectures on Astronomy, coining at the Royal Mint, mechanical geometry, lifting ships by steam, voltaic-mechanic agent, steam navigation, portable hand-mill, Brown's pneumatic engine, Bell's invention for saving lives from shipwreck, triple pump, cycloidal chuck, potato-washer, sand clock, Galvanic electricity, perpetual motion, Hadley's Quadrent, Wollaston's Night-Bolt, rope bridges, boring machinery, locomotive steam-engines, new London Bridge, naval architecture, steam and water wheel, Spencer's Patent Forge, boat with wings, ivory profile portraits, Jenning's Gas burner, Ramage's Telescope, washing machine, tallow lamp, iron masts, self regulating pendulum, prismatic compass, simple blowpipe. Includes image of Henry Brougham, and many drawings of inventions.non-fictioncar, newton, fire, shipwreck, bell, naval architecture, locomotive, ballaarat east public library, ballarat east public library, ballarat east library, henry brougham, potassium, meridian lines, pit saw, self moving carriage, lord worcestor, steam engine, cameron s, soda water, astronomy, royal mint, mechanical geometry, lifting ships by steam, voltaic mechanic agent, steam navigation, hand mill, brown s pneumatic engine, triple pump, cycloidal chuck, potato washer, sand clock, galvanic electricity, perpetual motion, hadley s quadrent, wollaston s night bolt, rope bridges, boring machinery, steam engines, new london bridge, steam and water wheel, spencer s patent forge, boat with wings, ivory profile portraits, jenning s gas burner, ramage s telescope, washing machine, tallow lamp, iron masts, self regulating pendulum, prismatic compass, simple blowpipe, bookplate

This horse-drawn, two-wheeled cart with a tank, is known as a Furphy Farm Water Cart that was made in Shepparton, northern Victoria, c. 1942. John Furphy (1842-1920) was born in Moonee Ponds, in 1842 to Irish immigrant parents and subsequently raised in the Yarra Valley before the family moved to Kyneton in central Victoria, where he completed an apprenticeship with the firm Hutcheson and Walker. Murphy began operations of his own at a site on Piper Street in Kyneton in 1864. He relocated for a business opportunity and founded the first blacksmiths and wheelwrights shop in the newly surveyed town of Shepparton in 1873. Furphy invented many farming tools and machines including a patented grain-stripper, and won awards at the 1888-89 Melbourne International Exhibition. His most famous invention is the Furphy Farm Water Cart, designed in the 1880s, at a time when water for most households and farms was carted on wagons in wooden barrels. The Furphy’s water cart is a single item that combines a water metal tank and a cart. The design of the cart was simple yet effective, and became popular very quickly and established itself as a vital piece of farming equipment. The water cart has had a number of words cast into its ends over many years. References to the foundry’s location in Shepparton, as well as advertising of other products also manufactured by J. Furphy & Sons were present on the ends. However, the most significant set of words to feature on the tank, was a poem encouraging continual improvement: ‘Good Better Best, Never Let it Rest, Until your Good is Better, And your Better Best’. During The Great War (1914-1918), the water cart was used by the Australian militarily at a large AIF (Australian Imperial Force) camp in Broadmeadows (Melbourne) where thousands of men were camped for months, before being transported aboard. Furphy Water Carts provided water to the troops, and were usually placed near the camp latrines, which was one of the few places the troops could share gossip and tall tales away from the prying eyes and ears of their officers. The water cart drivers were also notorious sources of information, despite most of their news being hearsay, or totally unreliable. By the time the men of the AIF were in engaged in combat on the Gallipoli Peninsula and the Western Front, the carts used for water supply had no markings and became simply referred to as Furphys. This owed as much to the coining of the term ‘Furphy’, Australian slang for suspect information or rumour. After a number of decades as principally a soldier’s word, 'Furphy' entered the broader Australian vernacular and was used mainly by the political class until recently when the term was taken up by a Australian brewer as a beer brand. This Furphy Water Cart was purchased by Friends of Flagstaff Hill in 2014. The support of local individuals, organisations and businesses enabled its restoration and later its installation alongside the existing late-19th century water pipe stand and 1940s hand pump The Furphy Farm Water Cart is of historical significance as it represents a famous Australian time-saving and energy-saving invention of the 1880s, replacing the labour intensive activity of collecting and dispensing water from barrels and casks on the back of carts. The water cart’s connection with manufacturing companies J. Furphy & Sons and Furphy Foundry are significant for being early Australian businesses that are still in operation today. Furphy carts are of military significance for the role they played during The Great War (1914-1918) in Australian army camps, and theatres of war in Europe and the Middle East, to supply the AIF troops with fresh water. A wooden framed, two-wheeled, horse-drawn cart, fitted with a horizontally mounted, cylindrical metal tank. The tank is made of rolled, sheet steel with a riveted seam, and cast iron ends with cast iron ends. The spoked metal wheels have fitted flat iron tyres and metal hubs. A metal pipe is joined to the outlet. The tank is silver coloured, the ends, wheels and trims are crimson, and the script lettering on tank sides is black. There are inscriptions on the tank, ends, and hubs. The water tank was made in 1942 in Shepparton, Australia, by J. Furphy & Sons and has a capacity of 180 gallons (848 litres). Hub perimeter, embossed “J. FURPHY & SONS” “KEEP THE / BOLTS TIGHT” Hub centre embossed [indecipherable] Tank, each side, painted “J. FURPHY & SONS / Makers / SHEPPARTON” Tank ends, embossed – “FURPHY’S FARM WATER CART” “BORN ABOUT 1880 – STILL ‘GOING STRONG’ 1942” “j. FURPHY & SONS / MAKERS / SHEPPARTON - VIC “ “S - - - - - L MANUFACTURERS” [SPECIAL] “SPIKE ROLLERS” “SINGLE TREES” “PLOUGH WHEELS” “IRON CASTINGS” “LAND GRADERS” “STEEL DELVERS” “CAST IRON PIG” “CHAIN YOKES” “GOOD – BETTER – BEST / NEVER LET IT REST / TILL YOUR GOOD IS BETTER / AND YOUR BETTER – BEST” Image [Stork carrying a baby] above shorthand, transcribed "Produce and populate or perish" Image [Furphy Pig Feeder] beside ‘Cast Iron Pig’ Shorthand, transcribed “"Water is the gift of God but beer and whiskey are concoctions of the Devil, come and have a drink of water"warrnambool, flagstaff hill maritime museum, water cart, furphy cart, furphy tank, furphy farm water cart, furphy, john furphy, john furphy & sons, furphy foundry, kyneton, shepparton, mobile water tank, jinker, hutchinson & walker, blacksmith, farm equipment, implement maker, tool maker, horse drawn, stork and baby, good, better, best, barrel, tank, first world war, wwi, eastern front, gallipoli, j furphy & sons

“Sundial 2hp engine, open crank, 600rpm, serial number 6420.” These small 4 stroke engines were widely used on Australian farms through the 20th century to power chaffcutters, grinders, saws, lighting plants, pumps, shearing plants, milking machines and cream separators easing much of the drudgery of farm work. They were also used in garages and workshops and by bush fire brigades. The engine was made by H.V.McKay Massey Harris. At one time Hugh Victor McKay’s Sunshine Harvester Works was the largest factory in Australia but in 1930, to ensure survival during the Great Depression, elected to merge with the Australian arm of a Canadian firm, Massey Harris. The Sundial is fitted with twin flywheels, making it a compact and convenient power source as either wheel could double as a drive wheel. Its connecting rod, crankshaft and flywheel spokes are covered, a safety measure that was not standard at the time. These engines were advertised as simple, dependable, low in price and cheap to run. They had the additional advantage that a bolt-on kit was made by the manufacturer to convert them to run on kerosene. ‘The engine's output is two horsepower (1.5 kW) at 600 rpm. The compression ratio is 5:1 and the spark plug is activated by a high tension magneto. The fuel tank holds 3.3 litres and the cooling water hopper holds 6.6 litres. Cylinder bore is 101 mm and piston stroke is 115 mm.’ In a catalogue of HV McKay Massey Harris agricultural machinery published in March 1942, the engine is described as follows: 'The cylinder head is of the hot, turbulent type, giving the finest fuel atomisation and heat distribution. The carburettor, of special design, has an automatic air valve controlling the amount of air. The supersensitive, high speed, flyball-type governor provides an ample range of speed.'Typical of units used on local farms. RepresentativeSundial 2 h.p. engine, open crank 600 rpm Seral number 6420, red. Attached to yellow grain grinderSunshine McKay, 1939 Serial no. 6420farm machinery, stationary, machine operated, belt driven

Display panel made for the 2018 exhibition in the Port Melbourne Town Hall to celebrate 25 years since the founding of the Port Melbourne Historical & Preservation Society in 1993. Top row L to R - Perce MAGUIRE-WHITE (Founding member): Wendy MORRIS (Founding member): Terry KEENAN (Founding member): John MAY (Founding member): Susan REIDY (Founding member): Jim POWER (Founding member): Margaret BRIDE (Founding member): Graham BRIDE (Founding member): Anne CALLAGHAN (Founding member) : Glen STUART (Founding member): Lorraine HALL (Founding member): 2nd row L - R - Heather WALE (Founding member): Pat GRAINGER: Nicholas CREE: Ron STRANKS 3rd row L - R Bob GARDINER: Barbara GARDINER: John WRIGHT: Liana THOMPSON: 4th row L - R - David THOMPSON: Glen COSHAM: Sherrie ANTONIO: Greg HANSEN: 5th row L - R - Suzy MILLBURN: Janet BOLITHO: Maree CHALMERS: Maralyn KOBELT: 6th row L - R - Ann GIBSON: Jack BOLT: Helen BARRY: Virginia SNELL: 7th row L - R - : Marilyn ALLPORT: Max ALLPORT: Robyn CLINCH: Allan MIERS: 8th row L - R - ?: Jan SOLDATOS: Vera WHITE : Peter LOGAN: 9th row L - R - Dorothy OLIVE: Eddie BUSUTTIL: Chris PIPER: George TSINGOS: 10th row L - R - Fiona MCCONNELL: John KIRBY: Phil KING: Rebecca MOORE: 11th row L - R - ? : Steve TSERKEZIDIS: Sue LEONG: Bernadene VOSS: Ann-Marie RICHARDSON: John LACK: Val POWER: Emma TEASDALE: Christine GRIFFITHS: Ray JELLEY: Beris CAMPBELL.Display poster with colour photographs of a selection of members surrounding a text panelcelebrations fetes and exhibitions, perce maguire-white, wendy morris, terry keenan, john may, susan reidy, jim power, margaret bride, graham bride, anne callaghan, glen stuart, lorraine hall, heather wale, pat grainger, nicholas cree, ron stranks, bob gardiner, barbara gardiner, john wright, liana thompson, david thompson, glen cosham, sherrie antonio, greg hansen, suzy millburn, janet bolitho, maree chalmers, "thirst aid" kiosk, maralyn kobelt, ann gibson, jack bolt, helen barry, virginia snell, marilyn allport, max allport, robyn clinch, allan miers, jan soldatos nee harris, vera white, peter logan, dorothy olive, eddie busuttil, chris piper, george tsingos, fiona mcconnell, john kirby, phil king, rebecca moore, arts and entertainment - community arts, 'spud' manners, steve tserkezidis, sue leong, bernadene voss, ann-marie richardon, 'arms' armstrong, john lack, val power, emma teasdale, christine griffiths, beris campbell

The knitting machine is a recently designed instrument, especially when it is compared with its ancient counterpart, the loom. It enables the creation of many metres of fabric very quickly. A knitting machine is composed of a series of needles which mimic the process of manual knitting. The mechanism engages numerous mechanical elements simultaneously and enables the creation of many metres of fabric very quickly. In addition, a knitting machine can be setup to produce unique bolts of fabric. The density of the fabric may be modified and a knitting machine can produce double-faced effects. A doubled-faced effect creates colour combinations through the introduction of an additional colour to the knitting pattern. This knitting machine is a Coppo brand. It contains over five hundred needles and was produced in the 1960s. It is a representation of the best available in the world at that time. Originating from Italy, it was designed for commercial use. Through both precision and capacity, Italian artisans were seen to be the best in the world of textiles and knitwear. Through emigration, globalisation and the regularly available quantities of wool, Australia came to compete on this stage. The owner of this particular machine migrated from Italy in 1959. When she did, she brought with her a Dubied knitting machine. She later replaced it with this Coppo. When in Australia the owner began work as a piece worker, knitting jumpers and worked for some of the iconic names in the Australian knitting trade including ES Poratt and Alpin Manufacturing. The owner’s role progressed from a piece worker to a wool garment designer and she won many Wool Industry Awards in the 1970s and 1980s. Her high quality of work using and her individual custom designs were spoken about by many of her customers and she had a very large private clientele. She designed and knitted fully fashioned tailored jumpers for people for around 30 years.Knitting table sits on a stand with wide metal legs. Legs contain lettering 'COPPO torino'. Legs are connected via three thin metal poles as well as a metal band and the bed of knitting table at top. The connecting metal band has the lettering 'SUPER - COPTAL' attached. The Knitting table itself contains two beds and a bench at the rear. Attached to the bench is a thin metal structure for the elevation of yarn. It has four crane esk structures above on this metal structure. The bench is covered in a pale grey laminate in the imitation of wood. Attached to the knitting bed is a sliding contraptions containing two handles at the front followed by a complex semi-circle sliding mechanism used to move the knitting mechanism front and back.Left Stand. Lettering: Coppo Torino Right Stand. Lettering: Coppo Torino Centre Stand. Lettering SUPER - COPTALcoppo, knitting machine, design, italy, wool, business, migrants

The monument with time capsule was established by the Shire of Eltham Historical Society to commemorate Victoria’s 150th anniversary and mark the former location of the Eltham Town Centre, which existed along this section of Main Road, then known as Maria Street. The unveiling was conducted 10 November 1985 by Cr. Mary Grant (Shire President). The monument was constructed with a concrete base and the main feature is an old tyring plate or disc. The Time Capsule Ceremony involved lowering the sealed time capsule into place, bolting down its container lid and then concreting over the lid. The capsule contains items relating to present day (1985) Eltham and its people including a video film made by Joh Ebeli and also details of families and organizations who have contributed to construction of the monument. It is to be opened in the year 2035. The Society received an excellent response from local people, firms and organizations by way of assistance with this project. Graham Beyer, who originated the project, arranged many of the donations. He and his firm, Package Handling Equipment, donated the time capsule itself and carried out fabrication of sections of the monument. The design of the monument was adapted by Graham Beyer from drawings by Joh Ebeli. Charmac Industries donated the container for the time capsule and a cast gun metal name plate for the monument. BMG Concrete donated concrete for the base which was constructed by Caridi Construction Company. Northbourne Garden Supplies donated materials for the paving around the monument. Robert Becker from Eltham Apex directed construction of the paving by Society members. Terry Hutchinson donated the use of his crane to lift the tyring disc into place. Financial contributions were also made by the Eltham Chamber of Commerce and the Rotary Club of Eltham. In 1987 in commemoration of the Society’s 20th Anniversary, Joh Ebeli suggested the commissioning of a plaque to be added which explains the functions of the various items used in the Society’s Victorian 150th Anniversary Monument and this was unveiled by its designer, Joh Ebeli, on October 10, 1987.35mm colour positive transparency (1 of 28) Mount - Kodak KodachromeProcess Date MAR 89Meltham, eltham community centre, monument, time capsule

The monument with time capsule was established by the Shire of Eltham Historical Society to commemorate Victoria’s 150th anniversary and mark the former location of the Eltham Town Centre, which existed along this section of Main Road, then known as Maria Street. The unveiling was conducted 10 November 1985 by Cr. Mary Grant (Shire President). The monument was constructed with a concrete base and the main feature is an old tyring plate or disc. The Time Capsule Ceremony involved lowering the sealed time capsule into place, bolting down its container lid and then concreting over the lid. The capsule contains items relating to present day (1985) Eltham and its people including a video film made by Joh Ebeli and also details of families and organizations who have contributed to construction of the monument. It is to be opened in the year 2035. The Society received an excellent response from local people, firms and organizations by way of assistance with this project. Graham Beyer, who originated the project, arranged many of the donations. He and his firm, Package Handling Equipment, donated the time capsule itself and carried out fabrication of sections of the monument. The design of the monument was adapted by Graham Beyer from drawings by Joh Ebeli. Charmac Industries donated the container for the time capsule and a cast gun metal name plate for the monument. BMG Concrete donated concrete for the base which was constructed by Caridi Construction Company. Northbourne Garden Supplies donated materials for the paving around the monument. Robert Becker from Eltham Apex directed construction of the paving by Society members. Terry Hutchinson donated the use of his crane to lift the tyring disc into place. Financial contributions were also made by the Eltham Chamber of Commerce and the Rotary Club of Eltham. In 1987 in commemoration of the Society’s 20th Anniversary, Joh Ebeli suggested the commissioning of a plaque to be added which explains the functions of the various items used in the Society’s Victorian 150th Anniversary Monument and this was unveiled by its designer, Joh Ebeli, on October 10, 1987.35mm colour positive transparency Mount - Black and Whiteeltham, eltham community centre, monument, public art, time capsule

This silver trophy is named "Sir W. Clarke's Trophy" after its donor. Sir William John Clarke, Baronet, who was a citizen and philanthropist, well known in Melbourne and throughout Victoria. He gave donations to many public projects including Melbourne University and was a patron of many and varied sports. He encouraged the defence services with prizes for competitions among both military and naval forces. In colonial Australia in the 1880s there was an increase in the size of the colonial military forces, rising from 8,000 in 1883 to 22, 000 in 1885. In 1885 there was a return of unpaid volunteer soldiers, along with a fear of a Russian attack on Australia. As a result, the Sir W.J. Clarke's Trophy was given as a prize in 1885 to Victorian Militia Garrison Battery competition winners, for artillery firing target accuracy. On 12th December 1885, the conclusion of the first artillery competition for Sir W. Clarke's Trophy was held at the Williamstown battery. The first winner of the Sir W. Clarke's Trophy was the Geelong Garrison Battery, with the prize Sir W. Clark's Trophy presented to them in 1886. In 1887 Warrnambool Garrison Artillery, under the command of Major W.S. Helpman, was the proud winner of the Sir W. Clarke’s Trophy. The contest was held at Point Gellibrand with the trophy formally unveiled at the Warrnambool orderly-room on 3rd August 1887. In June 1892 the annual competition was held at the Gellibrand battery in Williamstown. The canvas targets were moored at sea and fired upon from three breech-loading guns mounted on disappearing carriages. Each team was allowed 4 shots fired from each of the 3 guns. An article in the Portland Guardian stated that "the Warrnambool team is certainly looked upon as the certain winners." The same article reported that In this particular year the Government withdrew its previous award of 10-pound cash to the men of the winning team, described in the Portland Guardian as a petty economy of the Government. As the Warrnambool Militia Garrison Artillery had won the Trophy, for the third time, they became Absolute Possessors of the prize. The Trophy is locally significant to the community of Warrnambool for its connection to the Warrnambool Volunteer Rifle Corps., which formed part of the original Warrnambool Garrison to protect the Warrnambool Harbour. The site of the 1888 Warrnambool Garrison and Fortifications is Victorian State Heritage-listed is significant for its intact and operational nature and is one of the best-preserved pieces of Victoria's early colonial heritage.This is the Sir W. Clarke's Trophy for the Victorian Militia Garrison Artillery, first presented in 1886. The silver trophy with lid rests on a square black timber base that displays award shields on each side edge. Inside the hollow trophy is a removable copper alloy bowl with a wide edge. The inner walls of the trophy are unpolished and there is a metal bracing plate between the sides and fitted metal bolts with nuts and washers. near the base. The large, elaborately decorated, silver bowl has a conical pedestal, two handles on the top edge of the bowl and a matching fitted lid. Much of the decoration is three-dimensional. Fine, detailed decoration includes a semi-kneeling figure with an upturned face on top of the lid, vine-like handles resting on necks of swans with outspread wings, figures seated on a ridge, two on each side, with ends of limbs hanging over the ridge, two holding lyres, patterns of leaves, flowers and draped ribbons. The timber base is painted black on the outside. The engraved silver shields around its sides have inscriptions of trophy winners and the name of the trophy. There is a handwritten, pencil inscription of the date 1887 under the timber base. The first award was made in 1886 and the last in 1892. The Warrnambool Garrison wond this trophy three times, including the last award given.Front centre large shield; “VICTORIAN MILITIA / GARRISON ARTILLERY / SIR W. CLARKE’S / TROPHY” Left side, right shield; “1886 / WON BY / GEELONG / GARRISON BATTERY / Major J PRICE / COMMANDING OFFICER” Front, right shield; ” 1887 / WON BY / WARRNAMBOOL / GARRISON ARTILLERY / Major W.S. Helpman / COMMANDING OFFICER” Left side shield: “1888 / WON BY / NORTH MELBOURNE / Garrison Battery / Major F.R.Y. Goldstein / Commanding Officer” Right side, left shield; “1889. / WON BY / WARRNAMBOOL / Garrison Battery / Major W.S. Helpman / Commanding Officer” Right side, centre shield; “1890 / WON BY / HARBOUR TRUST / BATTERY / Major J.H. Haydon / Commanding Officer” Right side, right shield; “1891 / WON BY / WILLIAMSTOWN / BATTERY /l Major W.H. Hall / Commanding Officer” Back, left shield; “1892 / WON BY / WARRNAMBOOL / Garrison Battery / Major W.S. Helpman / Commanding Officer” In pencil underneath timber base “1887”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, sir w. clarke's trophy, warrnambool volunteer rifle corps, statistics of warrnambool volunteer rifle corps, warrnambool volunteer rifle company, warrnambool rifle volunteers, warrnambool garrison, 1886, 1887, 1888, 1889, 1890, 1891, 1892, trophy, garrison, competition, prize, winners

Chains are available in a variety of link shapes and sizes. They have many uses on sailing vessels, such as part of anchoring systems or loading cargo onboard the ships. A link called a shackle is used as a quick and flexible way to join two pieces of chain. Sometimes the shackle needs a tool to remove it. A shackle punch like this one will do the job. A modern term for a similar tool, that also has a handle, is a ‘breakdown’ tool. It is designed for aligning and driving pins in and for removing bolts, rivets and pins. This shackle punch has a handle with six flat sides that prevent it from rolling around when stored. It has a fine shank that tapers down to the end. The tool is placed on the join of the shackle, and then the end of that handle is hit with a hammer until the join breaks apart. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.A shackle punch; a metal tool with six flat sides on the handle and the shank tapers inwards to a rouded point. It once belonged to shipwright Laurie Dinks.flagstaff hill, warrnambool, great ocean road, shipwreck coast, maritime museum, maritime village, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, ship maintenance, cooper, tool, marine technology, shackle punch, breakdown tool, chains, links, laurie dilks, l dilks, port and harbours melbourne

1920's Station Cash Box Tin Made by Hobbs & Co London Lever Machine Made Alfred Charles Hobbs (October 7, 1812 – November 6, 1891) was an American locksmith and inventor. Hobbs went to London as a representative of the New York company of Day & Newell, which was exhibiting at the Great Exhibition of 1851. Hobbs had brought with him his boss's (Robert Newell) Parautoptic lock, designed to compete with, and surpass, the locks available at the time in Britain. He was the first one to pick Bramah's lock and the Chubb detector lock at the Great Exhibition of 1851 and forced the lock manufacturers to improve their designs. The lock controversy continues a subject of great interest at the Crystal Palace, and, indeed, is now become of general importance. We believed before the Exhibition opened that we had the best locks in the world, and among us Bramah and Chubb were reckoned quite as impregnable as Gibraltar— more so, indeed, for the key to the Mediterranean was taken by us, but none among us could penetrate into the locks and shoot the bolts of these masters. The mechanical spirit, however, is never at rest, and if it is lulled into a false state of listlessness in one branch of industry, and in one part of the world, elsewhere it springs up suddenly to admonish and reproach us with our supineness. Our descendents on the other side of the water are every now and then administering to the mother country a wholesome filial lesson upon this very text, and recently they have been "rubbing us up" with a severity which perhaps we merited for sneering at their shortcomings in the Exhibition. In 1854 he was awarded a Telford Medal by the Institution of Civil Engineers for his paper 'On the Principles and Construction of Locks'. Sign on a strong room door. Hobbs became one of the founders of the lock making firm of Hobbs Hart & Co. Ltd. The company started in 1851 and was formally registered as Hobbs and Co. in 1852. But by 1855 it had become Hobbs, Ashley and Company. The name then changed to Hobbs, Ashley and Fortescue, with an address at 97 Cheapside in London. Then for the next ninety years the address was 76 Cheapside in London. In 1860 Hobbs returned to America and lived in Bridgeport, Connecticut, and went on to hold a dozen patents for firearm ammunition manufacturing. In 1880 he listed himself as a "Superintendent Of Cartridge Factory" Info from https://en.wikipedia.org/wiki/Alfred_Charles_HobbsHistoric - Railways - Station Cash Box Tin 1920's Station Cash Box Tin - Hobbs & Co London Metal Tin - painted Black, Gold and Red with Brass Lock and HandleHobbs & Co London Lever Machine Made1920's station cash box tin, puffing billy

As quoted from Wikipedia, ‘An anvil is a block with a hard surface on which another object is, struck. The block is as massive as it is practical, because the higher the inertia of the anvil, the more efficiently it causes the energy of the striking tool to be transferred to the work piece’. The lightstation’s anvil is a red-painted iron block with a conical beak or horn at one end that was used for hammering curved pieces of metal. It would have stood on a heavy free-standing pedestal, such as a large tree stump, to allow complete access to the item being hammered. Some anvils display the manufacturer’s name in the metal on the side, but this is not the case here, and its age, although unknown appears to be quite old, perhaps c.1900. It appears to have had a lot of use, and although no record of this survives, it is presumed that a forge operated on site for hammering, cutting, shaping and repairing tools such as bolts, nails, hooks, chain segments, pulley blocks, hinges, crow bars, picks, chisels, horseshoes and harness hardware. A hames hook (which forms part of the collar worn by a draught horse) survives at the lightstation as do many other heavy metal tools and pieces of equipment. The anvil is an example of the necessary resourcefulness and self sufficiency practiced by lightkeepers working and living in a remotely located workplace and home, and many of the iron items in the collection may have been repaired or even made on its working surface. As a lightstation manager Chris Richter used the anvil to manufacture pulley blocks for sash windows, repair brass door hinges & sharpen cold chisels, crowbars and picks and other lightkeepers have used this anvil for many fabricating jobs such as manufacturing ducting for the generator room ventilation system."The lightship only came in every three months with supplies and there would have been repairs to do between visits from a blacksmith - who would have had to travel on the ship. Also, the ship was only anchored in the bay long enough to unload supplies and collect and deliver lightkeeping staff – probably not enough time to get much smithy work done – especially if the weather packed it in and the ship had to depart. Lightkeepers in our time had to be self sufficient, resourceful and innovative and I imagine that would have been the case in the past." It has second level contributory significance.Red painted blacksmith's anvil.

Detached sector panel from upper lantern. The lens segment is one of a pair of freestanding panels that formerly stood on a platform in the upper lantern room on either side of a small fixed light. The platform rested above the 1860/62 Chance Bros. first order, fixed lens and could be accessed by a ladder. The two sector lens panels were each set in a bronze frame and comprised a curved wider (belt) piece in the centre with nine curved, slim line pieces above and below it (19 pieces in total). The belt aligned with the light source to provide optimal focus and range. The panels, the light and the platform were installed in 1934 to upgrade the original optical system with red warning lights. Fitting them above the lantern was a convenient and inexpensive way to do this, with each lens panel set up behind a red glass panel to project a red sector to the seaward over to Cape Howe and the Western Shore. The two sectors are likely to be Chance Bros. by manufacture although they do not appear to bear the maker’s name. This is probably because Chance Bros. typically fixed metal plaques to their apparatus and tended not to stamp smaller components such as their lens frames. It could possibly indicate that the two sectors are former components of a larger system, i.e. another lens. This can easily be confirmed by closely inspecting the bronze frames. A series of holes on the frame would indicate that ‘they would have bolted to other panels to make a larger lens assembly’. The absence of holes would confirm that ‘they were made specifically to stand alone’. The sector panels were removed from the Gabo lantern in February 1992. At some point after their removal, they were found in boxes marked with ‘Ince Pt.’, however it is thought that Ince Point lighthouse ‘never had … stand alone sectors’. The panel in the Gabo Island collection is one of two segments discovered at the Eden Killer Whale Museum in about 2007. One section was repatriated to Gabo Island and the other was to go to Smoky Cape Lighthouse in northern NSW. The Gabo lens segment has first level contributory significance for its historic value and provenance to the lantern room. It is recommended that Parks Victoria/AMSA seek to return the Smoky Cape segment to Gabo Island and reunite the sector panels.The Gabo lens segment has first level contributory significance for its historic value and provenance to the lantern room.Section of a lens from a lighting apparatus , rectangular louvers of glass enclosed in a metal frame.

In 1984 the Commonwealth Government made available to Flagstaff Hill a collection of lead ingots and copper sheets recovered from the wreck-site of the LOCH ARD. They were presented to the Warrnambool City Council by the Hon. Tom Uren MHR, Minister for Territories and Local Government: “The Commonwealth recognises that shipwrecks like the LOCH ARD are our national heritage with important educational, recreational and tourist applications” (The Standard, Tuesday 8 May 1984). The LOCH ARD was wrecked in 1878. Unsuccessful salvage operations were then undertaken with the 90 ton paddle steamer NAPIER. In sudden bad weather this vessel too was sunk. The precise position of the LOCH ARD in the exposed and dangerous waters off Mutton Bird Island became lost to memory. The underwater location of the LOCH ARD was rediscovered in 1967 by a Warrnambool skindiver, Stan McPhee. In the two years following his find, the vessel was systematically pillaged by unauthorised salvagers. This led to the State and Federal Governments’ intervention in 1969. A roundup and seizure of recovered lead ingots and copper sheets was conducted by Commonwealth and Victorian Police. Offenders were charged and convicted. The “repossessed loot of the Tassie Boys” was placed into secure storage (Jack Loney, 1978, Wrecks & Reputations). The LOCH ARD manifest of cargo lists “Pig lead 50 tons, 994 pig & 37 rolls” and “Copper 33 plates, 53 bolts”. While the lead ingots have been subsequently described as “ballast”, the copper sheets are unlikely to have been associated with the ship’s normal complement in that way. Similar product lines in the cargo manifest are “Bar and rod iron 102 tons”, “Plate iron 3 tons” and “Zinc 12 tons”. These raw materials were used by colonial artisans such as blacksmiths and metal smelters to fashion, and repair, agricultural implements and industrial machinery. Copper was valued for its non-corrosive properties and its malleability, or ease of working. Both these qualities were useful, for example, in laying underground gas pipes that supplied lighting to residences, businesses and streetscapes in the mid-nineteenth century. As the nineteenth century progressed, the metal was also increasingly valued for its conductivity, with copper wiring linking colonial communities to each other, and the wider world, via the Telegraph system. The average weight of the copper sheets is 216 kilograms, calculated by "volume 0.1936m³ X Cu density 8930kgs/m³".The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Large heavy sheets or panels of copper metal raised from the wreck of the LOCH ARD. The 10 sheets are of roughly similar dimensions and rectangular shape. They bear signs of prolonged submersion in seawater, with various degrees of limestone accretion, adhered marine growth, and green oxidisation. Three of the sheets are severely buckled, demonstrating the force of underwater explosives used in their salvage. One sheet appears cut or severed in a diagonal line downwards from its top left hand corner. One sheet has a 10cm X 10cm square cut out of its top right hand corner. All sheets are in sturdy, stable condition. No maker’s marks are visible.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, sailing ship, copper sheet, manutacturing materials, metal imports, muntz

The monument with time capsule was established by the Shire of Eltham Historical Society to commemorate Victoria’s 150th anniversary and mark the former location of the Eltham Town Centre, which existed along this section of Main Road, then known as Maria Street. The unveiling was conducted 10 November 1985 by Cr. Mary Grant (Shire President). The monument was constructed with a concrete base and the main feature is an old tyring plate or disc. The Time Capsule Ceremony involved lowering the sealed time capsule into place, bolting down its container lid and then concreting over the lid. The capsule contains items relating to present day (1985) Eltham and its people including a video film made by Joh Ebeli and also details of families and organizations who have contributed to construction of the monument. It is to be opened in the year 2035. The Society received an excellent response from local people, firms and organizations by way of assistance with this project. Graham Beyer, who originated the project, arranged many of the donations. He and his firm, Package Handling Equipment, donated the time capsule itself and carried out fabrication of sections of the monument. The design of the monument was adapted by Graham Beyer from drawings by Joh Ebeli. Charmac Industries donated the container for the time capsule and a cast gun metal name plate for the monument. BMG Concrete donated concrete for the base which was constructed by Caridi Construction Company. Northbourne Garden Supplies donated materials for the paving around the monument. Robert Becker from Eltham Apex directed construction of the paving by Society members. Terry Hutchinson donated the use of his crane to lift the tyring disc into place. Financial contributions were also made by the Eltham Chamber of Commerce and the Rotary Club of Eltham. In 1987 in commemoration of the Society’s 20th Anniversary, Joh Ebeli suggested the commissioning of a plaque to be added which explains the functions of the various items used in the Society’s Victorian 150th Anniversary Monument and this was unveiled by its designer, Joh Ebeli, on October 10, 1987. Circa 2010-2012 the monument was damaged through vandalism. The mounts for the ring had been broken. At the time of this photo the ring had been removed by Jim Connor, President of the Eltham District Historical Society and placed in safe storage whilst arrangements were made with Neil Carter of Carter Art, Research to undertake the repairs.Colour printeltham, eltham community centre, monument, public art, time capsule, carter art, neil carter

In Flagstaff Hill’s collection are items associated with the Ancient Wreck, (also called the Gold Ship, Mahogany Ship or Ancient Vessel). Three relics were located in 1890, due to the ‘interest of a public works inspector, James Gilroy, who dug in the ship’s remains’. One of the relics was a heavily oxidated ‘quantity of ironwork’. The other two, now part of Flagstaff Hill’s collection, are - an iron latch probably from a galley oven door or fireplace - a bronze bolt (spike or pin) Both of these relics are listed on the same page in the records of the Old Warrnambool Museum, found by K.A.G. (or H.A.G.) on the site of the Ancient wreck in 1890. Interestingly, another item in these records is ‘Notes on Ancient wreck, near Gorman’s Lane’. Gorman’s Lane is just inland from the sand dunes of the Coastal Reserve at Tower Hill. The current location of these Notes is unknown. Another item thought to be a relic from the Mahogany Ship was the amphora or jug, also in Flagstaff Hill's collection. It was found in 1934 on a local property and donated in 1985. The Museum opened in 1886 and continued until 1963, when it was closed by the Warrnambool City Council and the whole collection was put into storage. The council then transferred items to various places including Flagstaff Hill and the current Warrnambool Art Gallery. Flagstaff Hill’s early Accession Records book lists the items as being received from the Old Warrnambool Museum collection; the Latch is record 152 and the Pin is record 153. An article, ‘Birthplace of our History’ by Don Dean, is on file in the Warrnambool and District Historical Society. It was published in the Australian POST, on March 17, 1955. This article describes the finding of the items going back to 1890, along with other information about sightings of what has come to be known as the Mahogany Ship. The mystery of the Mahogany Ship began in 1836 when two shipwrecked sealers discovered the remains of an “ancient vessel” in the sand dunes about four miles west of Warrnambool. Since the last recorded sightings in the 1880’s the true origin of the Mahogany Ship has remained one of Australia’s most famous historical mysteries. One of the more recent theories is that the vessel was one of the Portuguese ships exploring the Australian coast in 1522. For over one hundred years searchers have attempted to locate and identify the wreck. The search continues for the tangible evidence which will once and for all establish the Mahogany Ship’s place in Australia’s History. The latch has local historic significance as it was found in the sand dunes of Warrnambool in 1890. The latch is also significant for being part of the original 1886 Warrnambool Museum's collection. The latch is significant for its possible link to one of Victoria’s and Australia’s maritime mysteries, the Mahogany Ship (also known as the Ancient Wreck). It is one of very few known relics that could give evidence of the existence and history of the vessel. It is listed on the Victorian Heritage Register S438 as it is one of Victoria’s oldest recorded shipwrecks. The identity of the vessel has the potential to change Australia’s history.Latch, iron. Flat iron latch tapers inward from loop handle to narrow end with prongs. Handmade. warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, mahogany ship, latch, relic, old warrnambool museum, ancient vessel, ancient wreck, oven latch, fireplace latch, galley oven, gold ship, gorman's lane, coastal reserve, tower hill

William 'Lauchie' McGrath, an accountant with Australian Mercantile Land & Finance (AML&F), enlisted in AIF in September 1914. He was posted to 8th Light Horse regiment with the No 268 and rank of trooper. He rose through the ranks, serving at Gallipoli, Egypt and Palestine reachin the rank of Captain/Adjutant of the regiment. The 8th Light Horse Regiment AIF was raised at Broadmeadows Victoria in September 1914 under the command of Lieutenant Colonel Alexander White and formed part of the 3rd Light Horse Brigade. The regiment served at Gallipoli where in a courageous but ill-fated charge at the Nek on 7 August 1915 it suffered horrendous casualties including Lieutenant Colonel White. Rebuilt in Egypt under the command of Lieutenant Colonel Leslie Maygar VC the regiment went on the serve throughout the Middle East Campaign. Colonel Maygar died of wounds at Beersheba when the regiment was attacked by enemy aircraft while waiting to follow up the successful charge of the 4th LH Brigade on 30 October 1917. The 8th Light Horse AIF was disbanded in 1919, but soon after re-raised as the 8th (Indi) Light Horse in the Citizen Military Forces, superseding 16th (Indi) Light Horse. McGrath wrote the History of the regiment (See 3091.901) Following his return to Australia he took up farming in the Upper Murray, On 10 February 1924, a community picnic was being held at a creek below his Jingellic homestead when a maniac armed with a rifle came out of the scrub and proceeded to shoot indiscriminately int the party. No reason was ever given but it was presumed that he wanted to kill one man who was not among the five he hit. McGrath got the women and children into the creek and organised the other wounded - he had already been hit in the chest - into cover before running over open ground for his rifle in the house. In all he stopped five bullets but the gunman bolted once McGrath appeared with his own weapon.Some weeks later he was captured getting milk from a dairy and declared insane. One of the five victims died that day, one some months later, one had to use a stick for the rest of his life and McGrath was forced to give up the farm and return to his old job as an accountant. He was awarded the silver medal of the Royal Humane Society of NSW and the silver medal of the Royal Shipwreck Relief & Humane Society of NSW. The latter body felt the water in the creek made it appropriate to also make the award. McGrath enlisted again in World War Two, serving firstly as 2/ic Broadmeadows Camp and later 2/ic the Officer Commanding 12th Garrison Battalion. Framed black and white photograph of mounted officer with tents in background.Across lower edge of frame "Capt. McGrath. MC.. MID. 8th Australian Light Horse"mcgrath, 8th, light horse, garrison, royal humane society nsw

Manufactured in the 1960s, this mobile emergency telephone exchange was fitted into a caravan. Part of the Shepparton Division State Disaster Plan, the caravan could be towed to areas affected by disasters to enable communications to recommence. The caravan remained in service until approximately 1974.Mobile infrastructure plays an important role in Australian communications, owing to the often remote and hostile environments in which Australians live and work. Exchanges such as this facilitated phone calls in the aftermath of an emergency, particularly for hospitals, police and other emergency services. Today, Mobile Exchange on Wheels (MEOWs), Cell on Wheels (CoW) and Satellite Cell on Wheels (SatCOW) - which provide temporary landline and broadband services, mobile phone coverage and service in areas without communications infrastructure respectively - are a critical part of emergency response procedures for natural disasters such as fire and flood. Though technology has progressed, the need for rapid service in remote areas remains a present concern of the communications service providers in Australia. This mobile service infrastructure is historically significant as an early example of a service which has evolved over decades, yet is still needed today. The exchange, as a representative example of a vehicle which would provide early-response in a disaster, is socially significant as a facilitator of critical communications needs in devastated communities: access to emergency services and contact with family and friends. The exchange itself, intact from its period of use, provides an insight into technology of the 1970s.Mobile emergency exchange housed in a caravan trailer on 2 wheel base, duralin body, steel tow bar, Caravan divided into 3 sections; the exchange room; the relay room and the main frame room. The exchange room contains 3 switchboards, a folding table, cupboards, benches and switch rack (.1). table (.2), steel bar for attaching the table (.3), back boards of switchboards (.4-.6), switches (.7-.16), box of switches (.17). There is a wall phone magneto, 300 type handset on wall and 2 skylights with wire screens. .11? hat pegs and shelf; there are 2 fluorescent tubes for lighting, all in exchange section. The floor is covered with 2 tone grey tiles and there are wire mesh on outside of windows and a geometric curtain inside behind switch rack. There is a flywire screen door as well as exterior door. The relay room has a sectioned door so half can open at a time. Room contains a cupboard with folding bench top beneath a curtained window. The opposite wall has a bank of batteries and transmission condensers; there is a shelf above window, one fluorescent tube and fuse boxes. Tiles on floor also. The main frame room contains many metres of coiled black covered cable, a black covered magneto wall telephone with 300 type handset; grey plastic jumper cords, a rack of termination points and wire with wasp nests attached. There is a small iron step under door, a fluorescent tube on wall and 3 hat hooks. Roll of Paper Handtowels (.18), cord and handle (.19), red exchange cords and plugs (.20-.22), plastic aluminium runners (.23,.24), headset (.25,.26), logbook (.27), battery readings (.28), box containing papers circuit drawings etc (.29-.93), paper lists off wall (.94,.95). Books, record books etc (.96-.103). Manila folder (.104) containing circuit drawings (105-.124). Wooden drawer (.125), metal drawer containing subscribers master cards, record of faults cards, particular switchboards connected, Junction line cards (.126). Box of valves (.127), box of clamps (.128). Box of 2000 type rack fuses, red 1 1/2 AMPS, black 3 AMP, blue 1/2 AMP (.129). Box of sleeves for covering wire joints (.130), plastic beakers (.131,.132), soap (.133), box of white plastic squares (.134), time switch "Venner BF/43 time switch" Made in England (.135), box of bolts, knobs etc (.136), box of switchboard number indicators (.137), fuse (.138), fuse wire (.139), football card (.140). Box of cartridge fuse 6 AMP (.141). Envelope of drawing pins, rubber bands (.142), black plastic, paper tape centres (.143-.152), metal plug (.153), 2 signs "Beware of vehicles" (.154-.155). Paper listing Naringal East automatic conversion (.156). Green Commonwealth of Australia note pad (.157). Wiring plug for tail lights (.158). Black fuse plugs (.159,.160). Box of bolts (.161). 2 sections of blue plastic coated wires (.162,.163). Gloves used for working on batteries (.164-.167). Wasp nests (.168,.169). White fuse (.170). Photographs of van in use (.171,.172)..1 on front: "ANOTHER / MOBILETRAIL / PRODUCT" "MAX SPEED / 25MPH" "TRAILER BRAKES / --- / " On sides: "EMERGENCY TELEPHONE EXCHANGE" "NO 1" "PMG" "TCQ / GROSS 250 / TARE 182 / LOAD 162" "6" "COUNTRY BRANCH / NORTH REGION / [SHEPPARTON DIVISION]" "LAW'S SIGNS" "Telecom Australia" On back: "DANGER / LONG LOAD" "MQA 3787" .133: "FIR OIL" "AUSTRALIA"mobile telephone exchanges, mobile telecommunications trailers, trailers, transport, natural disaster, black saturday, bushfires, floods, emergency communications

Handwritten on foolscap paper, with red seal on last page.1) The Subcontractor is also to remove the following [ ? ] from Mr Webb's paddock ... to the Madame Bent Mine Grenville ... .2) Specification for the taking doan, removal and reerection 2 Engines 2 boilers pumping gear, Bob, Poppett heads and Capstone etc, for teh Mdame Bent G.M.Cy Grenville. The company will provide ... .3) Morey's Coys yard, together with holding down bolts, and the following ... .4) to the extent of Bed ... Carpentry Work - To carefully take down the poppet heads and co... and erect the same on the claim complete ... .5) Engine Framing as shown for the winding engines and pumping engines. Properly fitted to get ... .6) The boilers to be fed in front. The contractor to cut and drill all necessary holes in the boilers and pipes - to fire blow ... The contractor to make good any damage or breakage or loss to machinery or any part hereof that may occur to it during the removal of the reerection of same. The loss or damage, if any, not being made good by the contractor, or in the event of the works not being proceeded with to the satisfaction of the Company;s Engineer, The company's Engineer hereby ... .7) of the whole of the works, and in default thereof the COntractor shall forfeit the sum of two pounds ... Signed James Malcolm Witness L. Menz The Common seal of the company was affixed this thirteenth day of December:/86 by its manager James Burrell in the presence of [illegible] managers Seal - Madame Bent Gold Mining Company Durham Lead Buninyongmadame bent gold mining company, richard squire, james malcolm, james burrell

William Penn Symons' first combat experience was in South Africa during the Ninth Xhosa War, 1877-78. In 1879 he took part in the Zulu war. He then served during the Burma Expedition (1885-89). In 1889 he received the Companion of the Order of the Bath. In 1898, following other campaigns, he was awarded the Knight Commander of the Order of the Bath. In 1899, Symons was given the staff rank of brigadier general and was to be General Officer Commanding of Natal. He was asked by the War Office to advise on the number of troops required to safely garrison the Natal from the threat of invasion from the Boer Republics of the Transvaal and Orange Free states. Cabinet decided to send ten thousand extra troop abut they also appointed Lieutenant General Sir George White to supersede Symons as Generat Officer Commanding in Natal. Penn Symons, on his own authority deployed one of his brigades to Dundee, a town north of Ladysmith. The position of Ladysmith anad Dundee was precarious as they stand in a triangle of Natal, Orange Free State and Transvaal. White wanted to recall the Dundee garrison to Ladysmith but because of political pressure from Sit Walter Hely-Harrison, the Governor of Natal, he agreed to leave them there. The Boers declared war on 11 October and began crossing the Natal borders the following day. On 20 October 1899 Boer troops on the nearby Talana Hill proceeded to open fire on the town. The British guns moved to return fire as the general surveyed the Boer positions and gave orders to his commanding officers. Symons believed in old fashioned military tactics of close order but these formations were not designed to be used against lonf range bolt action rifles and Symons' brigades would be the first of manyin this war to pay the heavy cost ofthe mistake, as many generals would repeat it. The infantry battalions set off from the east of the town. The first part of the advance went well and they reached a small wood at the foot of the hill where they found shelter. Beyond the wood was a wall and then open ground. Symons rode up to the wood to find out why the attack had halted. He ordered the men to proceed, rode through the wood then walked through the gap in the wall. After a few moments he returned and was helped to remount his horse. He rode back from the front lines until he was out of sight of his troops before he asked for assistance from the Indian stretcher bearers. He had been shot in the stomach. Symons was taken to the field hospital at Dundee. After a few wasted days Symons' replacement, Brigadier General Yule, decided to abandon the town and the worst-wounded to the Boers and steal away at night to Ladysmith. Symons became a prisoner of war along with many others. He felt betrayed by Yule and just before he died he implored the medical officer, Major Donegal, to "tell everyone I died facing the enemy". Individual image from photographed poster of tobacco and cigarette cards.william penn symons, south africa, ninth xhosa war, companion of the order of the bath, knigt commander of the order of the bath, general officer commanding in natal, dundee, ladysmith, orange free state, transvaal, sir walter hely-harrison, governor of natal, boers, brigadier general yule

The carronade was designed as a short-range naval weapon with a low muzzle velocity for merchant ships, but it also found a niche role on warships. It was produced by the Carron Iron Works and was at first sold as a complete system with the gun, mounting, and shot altogether. Carronades initially became popular on British merchant ships during the American Revolutionary War. A lightweight gun that needed only a small gun crew and was devastating at short range was well suited to defending merchant ships against French and American privateers. The invention of the cannon is variously attributed to Lieutenant General Robert Melville in 1759, or to Charles Gascoigne, manager of the Carron Company from 1769 to 1779. In its early years, the weapon was sometimes called a "mellvinade" or a "gasconade". The carronade can be seen as the culmination of a development of naval guns reducing the barrel length and thereby the gunpowder charge. The Carron Company was already selling a "new light-constructed" gun, two-thirds of the weight of the standard naval gun and charged with one-sixth of the weight of the ball in powder before it introduced the carronade, which further halved the gunpowder charge. The theory of its design was to use less powder and had other advantages that were advertised in the company's sales pamphlet of the time, state. The smaller gunpowder charge reduced the barrel heating in action, also reduced the recoil. The mounting, attached to the side of the ship on a pivot, took the recoil on a slider, without altering the alignment of the gun. The pamphlet advocated the use of woollen cartridges, which eliminated the need for wadding and worming, although they were more expensive. Carronades also simplified gunnery for comparatively untrained merchant seamen in both aiming and reloading that was part of the rationale for adopting the gun. Other advantages promoted by the company were. The replacement of trunnions by a bolt underneath, to connect the gun to the mounting, reduced the width of the carriage that enhanced the wide angle of fire. A merchant ship would almost always be running away from an enemy, so a wide-angle of fire was much more important than on a warship. A carronade weighed a quarter as much as a standard cannon and used a quarter to a third of the gunpowder charge. This reduced charge allowed Carronades to have a shorter length and much lighter weight than long guns. Increasing the size of the bore and ball reduces the required length of the barrel. The force acting on the ball is proportional to the square of the diameter, while the mass of the ball rises by the cube, so acceleration is slower; thus, the barrel can be shorter and therefore lighter. Long guns were also much heavier than Carronades because they were over-specified to be capable of being double-shotted, (to load cannons with twice the shot, for increased damage at the expense of range), whereas it was dangerous to do this in a carronade. A ship could carry more carronades, or carronades of a larger calibre, than long guns, and carronades could be mounted on the upper decks, where heavy long guns could cause the ship to be top-heavy and unstable. Carronades also required a smaller gun crew, which was very important for merchant ships, and they were faster to reload. The small bore carronade and carriage is part of a collection of nineteenth Century Flagstaff Hill Guns and Cannon, which is classified as being of significance and was made a few years after the beginning of Queen Victoria's reign in 1837 and fires a 6 lb pound cannon ball. This nineteenth century artillery piece is a rare and representative item of artillery of this era, used predominately on ships, both military and merchant. The artillery piece, individually and as part of the collection, is highly significant for its historical, scientific and aesthetic reasons at the state, national and world level. This carronade represents the methods of artillery technology, its advancement and its modifications to suit dangerous situations that sailors encountered from attacks from free booters (pirates, living from plunder) or others at the time. Carronade firing a 6 lb cast iron ball, with a smooth bore barrel 6.5 cm in dia the item is mounted on stepped wooden carriage with wooden wheels. Cannon barrel can have its elevation adjusted via a wooden wedge. Gun carriage has loops for locating and holding in position to a deck by ropes. Carriage is a replica made 1982Cast into the barrel is the royal emblem of Queen Victoria (VR "Victoria Regina") indicating the carronade was cast during Queen Victoria's reign / 1840 & 4-2-0 denoting the weight of the barrel. Right hand trunnion has a serial number “8708”. Also on top of the barrel is the British "Board of Ordinance" identifying mark a broad arrow indicating the carronade was in military use. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, colonial defences, victoria’s coastal defences, warrnambool fortification, warrnambool garrison battery, warrnambool volunteer corps, ordinance, armaments, garrison gun, smooth bore cannon, carronade, black powder, 12 pounder, 1840, artillery, lieutenant general robert melville, charles gascoigne, carron company, mellvinade, gasconade

SEAMEN'S INSTITUTE FOR THE VICTORIA MISSIONS TO SEAMEN In architectural style, the new Seamen's Institute for the Victorian Missions to Seamen, in Flinders street Extension which is to be opened early in September by Sir Ronald Munro Ferguson, the Governor-General, may be said to resemble the type adopted by the early settlers in California, and known in recent years by the name of Spanish Mission architecture. This character is particularly sympathetic with the object for which the building has been erected, and is exemplified in a marked degree in the unique chapel tower of oblong shape with its four pinnacles and open bell turret, with an almost rustic cross as terminal point: also in the arcaded Eastern Court cloisters, with simple round arch arcading, and in the chapel roof, which is framed of heavy rough-hewn hardwood timber work left as it came from the saw, and erected green from the forest. but so well framed and bolted that no harm can result from shrinkage. The foundations are constructed of reinforced concrete, and in some places are nine feet wide. The ground is very treacherous, and considering the irregular weights of the one story, two-story, and three-story parts of the building, the result achieved in sta bility is eminently satisfactory. The main hall has a vaulted ceiling of reinforced concrete construction, and, spanning 35f., is the widest span of any floor in Melbourne of similar construction. The chaplain's residence is built above the lecture hall, and consists of a most complete, up-to-date dwelling-house of eight rooms. It is fitted with every modern convenience and labor-saving device. The cupboard in the pantry, for instance, has two faces — one in the diningroom and the other in the pantry. Dishes are washed in the pantry, put into the cupboard, and taken out in the diningroom, ready for the next meal. Special rooms are designed for the many and various works carried out for the sailors by the industrious workers of the mission. One room is shelved and fitted for the reception, sorting, and distribution of books, periodicals, and other reading matter that is parcelled up by willing hands and given to sailors as ships leave port, to beguile the weary hours of leisure on the sea. Any old books or magazines, illustrated papers, and the like are always welcome at the insti tute. Reading matter of this kind can easily be saved and sent along in bundles. The gymnasium is not yet built. This is the only part of the building required to complete the block; and when its concrete dome, with open eye at summit like the Pantheon at Rome is erected, the whole effect of the groups of buildings will be most striking. In the entrance hall is a floor of marble mosaic, with a central feature of a mariner's compass seven foot in diameter, well executed by the Adamant Pavement Company, and the gift of Mr George Russell. The architect has designed a copper ship as a finial for the main gable of the building, and it, like the gymnasium, is awaiting the collection of more funds or the generosity of a special donor. The whole of the woodwork of the in terior of the building, including high dados round the walls of halls, stair cases, billiard and other rooms is car ried out in Tasmanian hardwood, fin ished in a dull beeswax polish, and the floors of the entire building, except the lavatories, which are tiled, are also executed in Tasmanian hardwood. Mr Walter R. Butler, F.R.I.B.A., was the architect, and the work was carried out by Mr A. B. Robertson, builder. PICTURESQUE BUILDING AMID SOMBRE SURROUNDINGSThe article gives a valuable description of the Mission at the end of its construction and before its opening.4 columns article with photograph of the front of the Missionlady fraser, walter richmond butler (1864–1949), architecture, spanish mission, california, reinforced concrete, tasmanian hardwood, gymnasium, norla dome, pantheon, adamant pavement company, george russell, compass, finail, weathervane, chaplain's residence, manse, chapel, courtyard, cloisters, main hall, spannig

Historical Information: The anchor is from the wooden sailing ship CHILDREN, which was wrecked at Childers Cove east of Warrnambool on the 15th of January 1839 with the loss of 16 lives. The Children anchor was raised from the wreck site by Flagstaff Hill Divers; Peter Ronald, Garry Hayden (Terang, still), Tim Goodall (now Warrnambool), and Colin Goodall (now Warrnambool), on Sunday 3rd January 1974. A week or so later it was dragged up the cliffs and taken to Warrnambool. It is now on display near the entrance to the Maritime Village and Museum. It appears to be a Pering’s Improved Anchor, developed at Portsmouth after 1813. The addition of broad curvature to the anchor arms provided a stronger purchase than the pre-existing Admiralty Old Pattern Long Shanked Anchor with straight arms. However, the evidence of hammer-welding the separate pieces of the arms and palms to the central shank (peaked crown and flat palms) suggests the manufacture is before the 1831 Rodger’s Anchor design, (which cast both arms and their flukes as one piece that was then attached to the shank by a bolt through the crown). This identification seems consistent with the date of the CHILDREN’s construction in 1824. The CHILDREN was a three masted barque with a wooden hull built at Liverpool in England. She was bought by the Henty family of Portland (Australia Felix) in 1837 for regular coastal trading between Van Diemens Land, the Port Phillip District of New South Wales and South Australia. Only 255 tons burden (92 feet in length, with a beam of 25 feet and depth of 17 feet), she sailed from Launceston bound for Adelaide in late December1838, on her first Australian voyage and under the English master who had brought her out – Captain H. Browne. On board the CHILDREN were 24 passengers, including 9 children; the captain and 14 crew; livestock of 1500 sheep, 8 bullocks and 7 horses; general cargo of beef, pork, tobacco, tripe, butter, limejuice, horse hair, currants, lead shot, beer and spirits; 5,000 house bricks from London; and six whaling boats with associated whaling gear. The vessel was battered by gale force north-westerly winds shortly after setting out from Launceston on 11 January 1839 and adverse sailing conditions persisted for the next four days. At 11 pm on the 15th of January 1839, and many miles north and east of the captain’s navigated position, the CHILDREN struck the Pinnacle, a limestone stack off Childers Cove. Within half an hour the ship was completely destroyed. As well as the loss of livestock and cargo, 16 passengers and crew perished, including the captain, six men, one woman and eight children. In 1931 shifting sands at Childers Cove uncovered the skeleton of an adult male. In 1951 another two skeletons were exposed by storms, an adult male and a child. In 1963 some district scuba divers retrieved a small signal-cannon from the site. And in 1974 Flagstaff Hill recovered the anchor and some house bricks. The shipwreck of the CHILDREN is of state significance – Victorian Heritage Register No. S116.A large forged-wrought iron anchor from the wreck of the CHILDREN. Flat hammer-welded flukes on opposing curved arms and a peaked crown. It has a metal (elbowed) stock or cross-bar and a heavy duty pinned shackle (not ring) for the anchor chain. It is in fair condition but extensively corroded after 135 years on seabed (supported on display) .warrnambool, shipwreck coast, flagstaff hill, shipwrecked coast, flagstaff hill maritime village, flagstaff hill maritime museum, shipwreck artefact, maritime museum, the children, childers cove, anchor, pering’s improved anchor, 1839 shipwreck.

The wooden crate contains a set of patterns or moulds that were once used at Briggs’ Brass Foundry for making sand moulds. The traditional method of sand casting is over 2000 years old. It is part of a crafted process used to make brass and copper alloy goods suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-corrosive and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry display was one of the early ‘working craft’ shops at Flagstaff Hill. It included a historic Cornish chimney that was set up as a working model, telling the story of heat from furnaces to smelt metal, which would then be poured into the sand moulds. This chimney is made from specially curved bricks and is about two-thirds of its full height when originally located at the Grassmere Cheese factory. HISTORY of BRIGGS BRASS FOUNDRY: - The family business was founded in 1912 by Herbert Harrison Briggs (1963-1931) with his son George Edward Briggs, trading as Briggs & Son Foundry at 70 Wellington Street, Collingwood. Younger son Cyril Falkiner McKinnon Briggs joined the foundry in 1922, and it was renamed H H Briggs & Sons Foundry. Both sons ran the firm after Herbert’s death in 1931, making products mainly for marine purposes. They became Bell Founders in 1936 and were known for their specialty of high-quality ship bells. They produced miniature varieties of these and other decorative items such as small propellers. The firm became known as Briggs Marine Foundry. The great-granddaughter of Herbert Briggs inherited the Briggs Brass Bell, similar to the one at Flagstaff Hill. Cyril became the sole family member of the firm in 1965. The Briggs Marine was an exhibitor at the 1965 Boat Show, where he advertised as “non-ferrous founders” and “Bell Specialists”. The foundry relocated to Chesterville Rd, Moorabbin. Cyril passed away in 1967. It is thought that either Cyril or his business partner Frank Lee donated the objects from the Briggs’ Foundry around the time when the business moved to Moorabbin. However, Flagstaff Hill hadn’t been thought about until 1972. The donated items were registered in the Collection in 1986 but they could have been in storage from an earlier date. In October of that same year, Briggs Marine restored Schomberg Bell, a shipwreck artefact from the collection at Flagstaff Hill. Peter Oram, who had worked for the previous owners of Briggs Marine as a fitter and turner, took over the firm in 2014, reviving some of the old casts for current use. The business is now located at Seaford in Victoria and is part of Alliance Casting & Engineering Solutions (Alliance Casting Pty Ltd). In 2016 the original Collingwood Foundry building was repurposed as a thriving business hub named The Foundry. The crate and its patterns are significant for their association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. The patterns are associated with the long-running firm, Briggs Brass Foundry, that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine is also associated with the Schomberg Bell in Flagstaff Hill, restoring the bell to is former state to show an example of the bell from a luxury mid-19th century vessel. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. Wooden rectangular crate with removable wooden lid. Inside is a set of wooden patterns of various shapes and sizes for making sand moulds in a metal foundry. The crate is made from thick wooden planks nailed together. The extended wooden struts on the long sides form a frame to hold the wooden lid. A pair of metal handles are at each short end of the crate, fixed with strong metal bolds. Between each pair of handles is an inscription stamped into the wood. The underside of the crate has red paint splashes. There are insect holes in the wood but no sign of current infestation. Stamped: "H.33 / II" (H may be N or a square B)flagstaff hill maritime museum and village, great ocean road, shipwreck coast, pattern, mould, foundry, brass foundry, metal foundry, crate, box, wooden container, briggs, traditional method, trade, sand cast, cast, brass alloy, copper alloy, marine equipment, marine tools, marine fittings, briggs' bronze, copper tin zinc lead, non-corrosive, briggs family, brassware, metalware, foundering, metalwork, maritime, casting, cornish chimney, curved bricks, grassmere cheese factory, 1912, herbert harrison briggs, h h briggs, george edward briggs, briggs & son foundry, collingwood, cyril falkiner mckinnon briggs, cyril briggs, h h briggs & sons foundry, bell founders, schomberg bell, alliance casting & engineering solutions, collingwood foundry, ship chandlers, marine products, flagstaff hill, warrnambool, maritime museum, maritime village, briggs & son brass foundry, briggs marine, moorabbin

This deck cannon is believed to be a replica Carronade as it has no foundry mark, year of manufacture, proof marks or weight of carronade on it. However, its design matches the design of Carronades used in the early to mid 19th century. History: The carronade was designed as a short-range naval weapon with a low muzzle velocity for merchant ships, but it also found a niche role on warships. It was produced by the Carron iron works and was at first sold as a complete system with the gun, mounting, and shot altogether. Carronades initially became popular on British merchant ships during the American Revolutionary War. A lightweight gun that needed only a small gun crew and was devastating at short range was well suited to defending merchant ships against French and American privateers.   Its invention is variously attributed to Lieutenant General Robert Melville in 1759, or to Charles Gascoigne, manager of the Carron Company from 1769 to 1779. In its early years, the weapon was sometimes called a "mellvinade" or a "gasconade". The carronade can be seen as the culmination of a development of naval guns reducing the barrel length and thereby the gunpowder charge. The Carron Company was already selling a "new light-constructed" gun, two-thirds of the weight of the standard naval gun and charged with one-sixth of the weight of the ball in powder before it introduced the carronade, which further halved the gunpowder charge. The theory of its design was to use less powder and had other advantages that were advertised in the company's sales pamphlet of the time, state. The smaller gunpowder charge reduced the barrel heating in action, also reduced the recoil. The mounting, attached to the side of the ship on a pivot, took the recoil on a slider, without altering the alignment of the gun. The pamphlet advocated the use of woolen cartridges, which eliminated the need for wadding and worming, although they were more expensive. Carronades also simplified gunnery for comparatively untrained merchant seamen in both aiming and reloading that was part of the rationale for adopting the gun. Other advantages promoted by the company were. The replacement of trunnions by a bolt underneath, to connect the gun to the mounting, reduced the width of the carriage that enhanced the wide angle of fire. A merchant ship would almost always be running away from an enemy, so a wide-angle of fire was much more important than on a warship. A carronade weighed a quarter as much as a standard cannon and used a quarter to a third of the gunpowder charge. This reduced charge allowed Carronades to have a shorter length and much lighter weight than long guns. Increasing the size of the bore and ball reduces the required length of the barrel. The force acting on the ball is proportional to the square of the diameter, while the mass of the ball rises by the cube, so acceleration is slower; thus, the barrel can be shorter and therefore lighter. Long guns were also much heavier than Carronades because they were over-specified to be capable of being double-shotted,(to load cannons with twice the shot, for increased damage at the expense of range). Whereas it was dangerous to do this in a carronade. A ship could carry more carronades, or carronades of a larger caliber, than long guns, and carronades could be mounted on the upper decks, where heavy long guns could cause the ship to be top-heavy and unstable. Carronades also required a smaller gun crew, which was very important for merchant ships, and they were faster to reload. Additional notes: Cannon cast in England, Wales and Scotland had their imperial weight chiselled or engraved in the format of 4-2-0 on the bottom of the cascabel, indicating the weight of the cannon as 4 hundredweight, 2 quarters and 0 pounds. Since a hundredweight equals 112 pounds and a quarter weight is 28 pounds the total weight is 504 pounds or about 228 kilograms. The small bore replica carronade and carriage is part of a collection of nineteenth Century Flagstaff Hill Guns and cannons, and is a representation of carronades used from the early 18th up to the 1850s on merchant and military ships particularly the British Royal Navy until 1850. This example is not significant in the historic sense but demonstrates the type of artillery used aboard vessels of the time for protection & offensive military actions. Cannon, cast iron, small smooth bore cannon on the stepped wooden carriage with wooden wheels. It appears to fire a 12-pound cannonball. The Cannon barrel can have its elevation adjusted via a sliding sloped block at the rear of the cannon. Gun carriage has loops for locating and holding the carriage in position with the use of ropes. It is believed this carronade is a replica of a mid-to-late 19th-century Carronade cannon.Cast into metal; [Royal emblem of Queen Victoria (VR "Victoria Regina")]warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, cannon, naval cannon, cannon on carriage, 19th century cannon, fortifications, smooth bore cannon, 12 pounder, carronade, artillery, replica, deck cannon, cannon in carriage, ship cannon

This example of a sailing ship’s ‘dead-eye’ is from the wreck of the LOCH ARD, which sank near Port Campbell in 1878. The vessel was an iron hulled clipper ship constructed for the Loch Line in 1873. It was part of a fleet of similar merchant ships owned by that company, which specialised in bringing passengers and goods from London via the Great Circle route to Melbourne, and returning to Britain via Cape Horn with the colony’s wool clip. Deadeyes were a common feature of sailing ship technology in the nineteenth century. They were a simple, cheap, and hard-wearing device that, in conjunction with another deadeye, provided an effective means of levering, or tightening, attached ropes and stays. Lower deadeyes were fixed to the sides of the ship by an encircling metal collar (inset in a flattish groove chiselled around the outer circumference of the disc), which was bolted to iron bars attached to the hull (called chain-plates). Upper deadeyes were looped by a strong hemp or wire rope (inset in a rounded groove carved around the outer circumference of the disc), which was joined to the bottom ends of the rigging which reached up to secure the masts into position (called shrouds or stays). Connecting a Lower deadeye to its corresponding Upper deadeye was a rope (called a lanyard) which looped up and down through the three “eyes” of each disc, to form a pulley system. The hitching of the two deadeyes with a looped lanyard provided the means of tightening, or loosening, the tension on the mast rigging ― essentially by pulling against the chain-plates bolted to the outside of the hull. It was a procedure that could be performed by sailors at sea and in emergencies. For example, after a gale the stays may have stretched and the masts worked loose, requiring retightening. Or, in the extreme circumstance of shipwreck, the lanyards might need to be released on the weather side, so that the masts fall away from the stricken vessel. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The shipwreck of the LOCH ARD is of State significance. Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A reasonably well-preserved ship’s deadeye with rust-stained wire loop-rope still attached. It retains portions of its original hemp cord and hessian wrapping. The flat sides of this thick wooden disc have three holes drilled through in a triangular configuration. The artefact is from the shipwreck of the LOCH ARD (1878). The survival of the loop-rope (wire cable) indicates it was an Upper Deadeye, connected to the shrouds (mast rigging).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, deadeye, rigging