A black and white postcard of Roseleigh Guest House in Marysville that was produced by Valentine Publishing Co. Pty Ltd as a souvenir of Marysville.A black and white postcard of Roseleigh Guest House in Marysville that was produced by Valentine Publishing Co. Pty Ltd as a souvenir of Marysville.VALENTINE'S/ POST CARD/ A GENUINE PHOTOGRAPH Thursday/ Dear Douglas/ We are having a very good/ holiday. Yesterday went to the Eildon Weir/ which is worth seeing. This place is very nice/ too stay at, very clean & friendly. We had a/ good trip here & their are some lovely walks./ Flo & I would like to thank you for being so/ thoughtful about our luggage. Its these things/ that make life worth living. I think the strike/ will be over before we come back. If not will/ look you up. Kind regards to Mum Dad & both/ children/ Cheeriomarysville, victoria, australia, roseleigh guest house, grieve family, thomas charles grieve, john arthur grieve, rose grieve, ackerman family, mary moyne, elise ackerman, ken mcleod, george peters, rose emily pullum, beltana, rose lillian smith, ivy may grieve, alexander james ficinus, raymond charles smith, postcard, souvenir, valentine's publishing co. pty ltd

A black and white postcard of The Cumberland in Marysville.A black and white postcard of The Cumberland in Marysville.13/11.58 Dear Mrs Gellert,/ The choice for our holiday this/ year was quite lucky. We are very satisfied/ and can't complain of anything. We think/ you would like it here too, as Marysville/ has bery nice and even walks. The house is/ comfortable, beautiful flowers everywhere and/ the food good and adequate. We are having/ a good time and rest and it is a pitty you/ could not join us. With best regards to you/ and Claudia, I am Yours B. illegible/ illegiblemarysville, victoria, austalia, the cumberland, the cumberland guest house, cumberland house, accommodation, postcard, souvenir

A black and white postcard of The Hotel Marysville in Marysville. The postcard was produced by the Rose Stereograph Company as a souvenir of Marysville.A black and white postcard of The Hotel Marysville in Marysville.THE ROSE SERIES p. 4106 POST CARD The "Rose" Series/ De Luxe A Real Photograph/ Produced in Australia Published by the Rose Stereograph Co.,/ Armadale, Victoria. Friday/ Dear Julie/ Ask Mum + Dad if this looks like/ the place they stayed at 13 years/ ago. I think it is altered very much./ The weather here is just lovely + we/ three are out for a walk, just sitting/ down for a little rest before we go back for/ lunch at 1 o'clock/ Love from Grandma xxx/ PS. Well no! It has had a facelift!victoria, australia, keppel hotel, keppel's australian hotel, australian hotel, keppel family, maurice john keppel, accommodation, marysville hotel, hotel marysville, rose stereograph company, rose series, p. 4106, postcard, souvenir

Edward George Dyson was born on 4 March 1865 at Morrison, near the Ballarat goldfields, the son of a miner. Dysons first collection of poetry, Rhymes from the Mines and Other Lines, was published in 1896 by Angus and Robertson. A second poetry collection Hello, Soldier!: Khaki Verse was published in 1919. Many of these verse were originally printed in the “Bulletin,” others in “Punch,” “The Leader” and Melbourne “Herald.” The book we hold at the RSL is the original edition and is No. 146 in our museum collection. Dyson contracted encephalitis in 1919 He died at his home in the Melbourne suburb of Elwood on 22 August 1931. Although a highly successful writer in his day, Dyson has since been overshadowed by contemporaries like Henry Lawson and A. B. Paterson , and also by the achievements of his brother Will Dyson , one of the leading political cartoonists of the early twentieth century.Hardback rectangular book. Khaki in colour."HELLO, SOLDIER!"on the front, with "HELLO,SOLDIER!" by Edward Dyson on the spine

The Sonnets Triumphs and Other Poems of Petrarch Author: Francesco Petrarca (Petrarch) Publisher: Bell & Daldy Date: 1873 Olive hardcover with a brown spine and lettering in gold. The spine has a label with an inscription. Further Information: First completely Translated into English Verse by various hands, with a life of the poet by Thomas CampbellfictionThis volume compiles the core poetic works of Petrarch. It is anchored by his Canzoniere (Songbook), which features his famous sonnets and poems dedicated to his unrequited muse, Laura. It also includes his Triumphs (Trionfi), an allegorical series of poems exploring human life, love, death, and time. Collectively, these works shaped the course of Renaissance literature and popularized the "Petrarchan sonnet" structure across Europe.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, the sonnets triumphs and other poems of petrarch, petrarch, thomas campbell

The pair of photographs of Mr Henry and Mrs Mary Jane Giles was made by the International Art Company, the price was 30 shillings and the choice of frame was Rosewood. It is part of the Giles Collection, which also includes a photograph of the couple's daughter Christina Giles, who died in 1899 aged seven years. There are many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940.This photograph is locally significant due to its association with a local pioneering family. The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation. The photograph itself is of added significance as we can see the faces of the family whose lives the collection represents . This photograph is a portrait mounted in an oval rosewood frame, one of a pair. This photograph is Henry Giles, dressed formally and showing a moustache and side-burns. The couple in the pair of photographs is Mr and Mrs Giles of Woodford, Victoria. The photographic studio was the International Art Company. It is part of the Giles Collection.Inscription on back of frame "International Art Company 30/-" "Rosewood"warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, photograph late 1800s, oval wooden frame, portrait, mrs mary jane giles of woodford victoria, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century personal effects, mary giles, christine giles

Masques and Entertainments Author: Ben Jonson Publisher: George Routledge & Sons Date: 1890fictionMasques and Entertainments by Ben Jonson (edited by Henry Morley and published by George Routledge & Sons in 1890) is a compilation of the dramatic courtly performances written by the legendary Renaissance playwright and poet Ben Jonson. Issued as Volume IX of the popular "Carisbrooke Library" series, this specific late-Victorian edition gathered works that Jonson originally wrote in the early 17th century (between 1603 and 1630) for the courts of King James I and King Charles I.flagstaff hil, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, masques and entertainments, ben jonson

Oral history Myrtle Barnett ( 1915- ); fostered daughter of Caroline & Ferdinand Barnett; Lower Plenty. Interviewed on 19 Feb 1996 by Peter Blackbourn. "We lived at Grace Park and could walk straight down the road and over the bridge to the Montmorency State School. The school was in Rattray Rd about half way up the hill. The King family lived next door to the school. One day the students were all taken on a walk to choose the site of the new school (which was built in 1924). In addition to the above story; Myrtle said at either the Lower Plenty School or the Montmorency School there was a teacher they didn’t like so they swapped schools. My Grandmother Jean Barnett; started at Greensborough Primary in 1919 and stayed 3 months. When I told her about this; she told me off and said she never went there! She must have then gone to Montmorency and when there was a call to start a school at Lower Plenty; took the opportunity to get away from the teacher they didn’t like. I’m not sure of the time line for the above events; or which school they swapped to but I thought it gave a little insight into the 1920’s and how Lower Plenty; Montmorency and Greensborough were connected."Transcript of Oral History. barnett family, myrtle barnett

The Portland Social Amusement Club was founded in 1897. Taken from Trove. Portland Guardian Monday May 26 1913: Portland Social Amusement Club. The members of the above Club celebrated the 16th anniversary of its foundation on Tuesday evening last, when the usual banquet. and social gathering was held. During the afternoon, a numerous band of the lady members attended at the, Free Library Hall and made the necessary arrangements, so that on arrival at the scene at 8 p.m. those attending were very pleasurably surprised to find most taste fully decorated tables actually groaning with the weight of all those good things which appeal so strongly, it is said, to the average man, and perhaps we may also add, woman also. At any rate, he would indeed be hard to please, who was not fully satisfied with all that was placed before him on that eventful evening. The attendance this year overtopped that of previous years, as over 80 ladies and gentlemen took part in what must be considered as one of the most successful of the many 'successful gatherings that have taken place. This 16th anniversary was the 431st ordinary gathering that had occurred, and, as the President (Mr. F. A.Row) justly said, it would appear that the Club, which many years ago was given but six months live, had proved the falsity of the attempted prophecy. After the principal business of the gathering had been transacted, the usual Club dinner speeches were made. The President gave "The King," which after being duly honored, was followed by the principal toast of the evening, "The day we celebrate." To Mr D. McDonald the toast of the Absent and Foundation members was entrusted, and as usual, that veteran discharged his duty well. II i cferred to the fact that of the 34 foundation members who started the Club in 1897,only five were present that evening. Mr W. T. Bennett, as one of the five referred to, responded, and hoped that in the glorious future that appeared before Portland, the Club, which had been started in the days of its adversity, would flourish in a like manner. Mr Grant proposed the toast of "Our Visitors." and in the name of the Club welcomed them to this the most important gathering of the year. Mr J. R. Woods responded in his usual happy way, and acknowledged that, until he had been the Club's guest during the years of his mayoralty of the town, he had no idea that it had enrolled among its members the number of ladies and gentlemen that it had or that its functions were upon the scale that he had since found to be the case. Mr G. H. .ennett upheld the claims of the ladies, especially those belonging to the Club. He evidently spoke with much feeling, and. waxed more than usually poetical in his eulogy of the graces and skill of the gentler sex. He rather upset the equilibrium of three of the younger portion of the gentlemen present by asking them to respond, but they all managed to "upstand" and make their acknowledgments. Mr T. F. Cruse was particularly happy in proposing the toast of. "The President and Members of Committee," who, he claimed, had done so much towards the success of the Club, and were deserving of the best that the members could give. Mr T. E. C. Henry, upon the invitation of the .President, responded,-end pointed out that [whilst it might appear that the work of the committee was light, it was not so in reality, as any member who desired a seat upon the Board would soon find out after.his or her election. The singing of Auld Lang Syne brought this portion of the entertainment to a close. In the dance which followed, some opportunity to view the ladies' dresses was afforded, and it could then be easily seen that the anniversary gathering of the Club was considered by the lady members at least, if not .by others, to be important enough to demand special treatment in the matter of dress. Many elaborate and beautiful costumes graced the scene, and everyone appeared to thoroughly enjoy themselves. The function was kept going merrily until about 2 a.m.; when the break up occurred. During the gathering telegrams of con gratulation were received from Mr W. B. Shevill and also from Mr Jno. Homers, both old members, the former a foundation one. Mr O'Donnell apologised for his own and Mrs O'Donnell's absence.Photograph of Portland Social Amusement Club

Taken in the 1950s, this picture is of two veterans of the First World War, Colonel Sir William Leggatt and Brigadier Sir Lionel Harris who fought together in France over 30 years prior. The two men were invested by the Queen at Buckingham palace as Knights, a prestigious honour for Australian soldiers, who for another 20 years would have no official recognition by the Australian government through the 'Order of Australia.' This image showcases the role of Australian service members who fought during the first world war being honoured by the British Government, personally meeting the Queen. Black and white photograph accompanied by text below taken from a NewspaperObverse: VICTORIA'S Agent-General, Colonel Sir William Leggatt (right) and his old / cobber's Brigadier Sir Lionel Harris, outside Buckingham Palace yesterday after hav- / ing received the accolade form the Queen. Thirty-two years ago as sergeant and private / they shared a trench in France. Yesterday as they waited to be knighted by the / Queen, Sir William said, "if anyone had told us then that we were ever going to / meet like this, we would have thought he was off his block. - Today's radiophoto / Reverse: 6539 (in pencil) / burke museum, beechworth, beechworth museum, world war one, military album, trenches, nighted, queen, buckingham palace, wwi, sir william leggatt, sir lionel harris

Hilda Kerr was the daughter of George Temple and Mary McAuslane of Castlemaine, later Orbost. Hilda married James Kerr in 1893 and lived at 'Lincluden,' Raymond Street, Orbost. Her husband, Dr James Kerr, was a Scot who had come to Australia as a ship's doctor and practised in NSW before visiting Orbost on a government vaccination programme. He liked Orbost and returned there, its first doctor, until his death in 1928. Hilda was sometimes referred to as 'Mrs Dr Kerr.' She and her sisters Mabel Stewart Temple and Margaret Ferrie Temple were all talented writers and musicians. This poem is an example of the talent of Hilda Temple Kerr. Hilda Temple Kerr (1874-1956) grew up in Orbost. She was very talented and published several books. It is reflective of the style of poetry in the early 19th century.A rectangular piece of paper with a typed poem titled, "We Come" by Hilda C. Temple-Kerr.poetry literature kerr-hilda-temple

In the 18th century people did not buy sugar as granules or lumps as we do today. Instead, it came in large cone shapes, wrapped in paper, called sugar-loaves. These were made from sugar grown on plantations in the Americas. Sugar nippers like these were used for cutting off small pieces from sugar-loaves for domestic use. This pair looks to be made by a blacksmith.Iron tool with two handles. The tool has a pincer type end with opposing blades - each prong having a flat spade type shape to the end. There is also a protruding piece of metal about half way up the tool and a hinged piece and the top of one of the handles. The metal is rusted.tools, portland, household provisions, groceries, glenelg shire council cultural collection

Letter written from (unknown) POW imprisioned by the Japanese on Morotai Island from 1942 - 1945 to (unknown) friend. Descriptive of life and treatment in POW camp. The island was captured by the Japanese in early 1942. Morotai's southern plain was taken by American forces in September 1944 during the Battle of Morotai, and used as a staging point for the Allied invasion of the Philippines in early 1945, and of Borneo in May and June of that year. Japanese soldier Teruo Nakamura was discovered in the Morotai jungle in 1974, as one of the WWII Japanese soldiers who held out subsequent to the Japanese military's surrender.Photocopy of letter, 4 pages, originally written in ink on (unofficial) Australian Red Cross form.Added to head of letter at a later date is inscription ' First letter written home for 3 1/2 years'.Top left hand- FOR SAFETY/ IN YOUR LETTERS DO NOT REFER TO:-/ The name of your ship or other ships in the convoy, or its escorts./The date of sailing, ports of call, or probable destination./ The description of troops, their loca-/tion or any other information/ which, if intercepted, would be of/ value to the enemy. In your Top right hand- Australian Red Cross Society/ (UNOFFICIAL)/ 25-8-45/ (added at later date 'Morotri Island')/ Alex, Have witten this especially/ as i don't wish our women folk to know the tougher side of life./Well Alex for the first/ 2 1/2 years as POWs we lived reasonably/ well, but the last 15 months was like /hell. Heres the worst lot of b-s/ you could find on earth, they worked /us from 7AM till 6 PM, & fed/ us on muck you wouldn't feed to/ Pigs. I'm nothing at all they would 2, pow, morotri island, morotai island, world war, prisoner of war, australian red cross society

THE DISCOVERY OF STAINLESS STEEL Harry Brearley Since the dawn of man colonies have raced against each other to uncover new technologies, to be the first to stamp their names on a discovery, and although we’ve evolved over millions of years, the urge to be the first remains at the very core of our nature. This sense of passion and pride can lead some of the more unscrupulous humans to claim others discoveries as their own. Of course many breakthroughs are genuinely made in tandem, or are simultaneously occurring, but unless you can categorically prove that you were the pioneer of these incredible findings, then the other party involved will always dispute the fact. And so we come to stainless steel. The first point to note is that ‘inventor’ is a very ambiguous term. Is this the first person to think, to document, to patent, or to produce? The second point is that stainless steel wasn’t truly defined until 1911, so are we to cast aside those chromium-iron alloys that don’t quite meet the minimum requirement of 10.5% chromium? It seems like anyone and everyone has a different claim to being labelled the ‘inventor’ of stainless steel; from Britain, Germany, France, Poland, the U.S.A., and even Sweden. The cogs were set in motion by Englishmen Stoddart and Faraday circa 1820 and Frenchman Pierre Berthier in 1821. These scientists, among others, noted that iron-chromium alloys were more resistant to attack by certain acids, but tests were only carried out on low chromium content alloys. Attempts to produce higher chromium alloys failed primarily because of scientists not understanding the importance of low carbon content. In 1872 another pair of Englishmen, Woods and Clark, filed for patent of an acid and weather resistant iron alloy containing 30-35% chromium and 2% tungsten, effectively the first ever patent on what would now be considered a stainless steel. However, the real development came in 1875 when a Frenchman named Brustlein detailed the importance of low carbon content in successfully making stainless steel. Brustlein pointed out that in order to create an alloy with a high percentage of chromium, the carbon content must remain below around 0.15%. Thus ensued two decades of stagnation for the development of stainless steel, and while many scientists attempted to create a low carbon stainless steel, none succeeded. Hans Goldschmidt It wasn’t until 1895, when Hans Goldschmidt of Germany developed the aluminothermic reduction process for producing carbon-free chromium, that development of stainless steels became a reality. In 1904 French Scientist Leon Guillet undertook extensive research on many iron-chromium alloys. Guillet’s work included studies on the composition of what would now be known as 410, 420, 442, 446 and 440-C. In 1906 Guillet went on to analyse iron-nickel-chrome alloys, which would now be considered the basics of the 300 series. However, while noting the chemical composition of his alloys, Guillet failed to acknowledge the potential corrosion resistance of his materials. Albert Portevin In 1909 Englishman Giesen published an in-depth work regarding chromium-nickel steels, while the French national, Portevin, studied what is now regarded as 430 stainless steel. However, it wasn’t until 1911 that the importance of a minimum chromium content was discovered by Germans P. Monnartz and W. Borchers. Monnartz and Borchers discovered the correlation between chromium content and corrosion resistance, stating that there was a significant boost in corrosion resistance when at least 10.5% chromium was present. The pair also published detailed works on the effects of molybdenum on corrosion resistance. It is at this point we introduce Harry Brearley, born in Sheffield, England in 1871, he was appointed lead researcher at Brown Firth Laboratories in 1908. In 1912 Brearley was given a task by a small arms manufacturer who wished to prolong the life of their gun barrels which were eroding away too quickly. Brearley set out to create an erosion resistant steel, not a corrosion resistant one, and began experimenting with steel alloys containing chromium. During these experiments Brearley made several variations of his alloys, ranging from 6% to 15% chromium with differing levels of carbon. On the 13th August 1913 Brearley created a steel with 12.8% chromium and 0.24% carbon, argued to be the first ever stainless steel. The circumstances in which Brearley discovered stainless steel are covered in myth; some enchanted tales of Brearley recite him tossing his steel into the rubbish, only to notice later that the steel hadn’t rusted to the extent of its counterparts, much like Alexander Fleming’s experience 15 years later. Other more plausible, (but less attractive), accounts claim it was necessary for Brearley to etch his steels with nitric acid and examine them under a microscope in order to analyse their potential resistance to chemical attack. Brearley found that his new steel resisted these chemical attacks and proceeded to test the sample with other agents, including lemon juice and vinegar. Brearley was astounded to find that his alloys were still highly resistant, and immediately recognised the potential for his steel within the cutlery industry. The Half Moon Brearley struggled to win the support of his employers, instead choosing to produce his new steel at local cutler R. F. Mosley. He found difficulty producing knife blades in the new steel that did not rust or stain and turned to his old school friend, Ernest Stuart, Cutlery Manager at Mosley’s Portland Works, for help. Within 3 weeks, Stuart had perfected the hardening process for knives. Brearley had initially decided to name his invention ‘Rustless Steel’, but Stuart, dubbed it ‘Stainless Steel’ after testing the material in a vinegar solution, and the name stuck. And that’s how Harry Brearley discovered stainless steel…. well, not quite… During the 5 year period between 1908 and Brearley’s discovery in 1913 many other scientists and metallurgists have potential claims to Brearley’s title. In 1908 the Germans entered the fray, the Krupp Iron Works in Germany produced a chrome-nickel steel for the hull of the Germania yacht. The Half Moon, as the yacht is now known, has a rich history and currently lies on the seabed off the east coast of Florida. Whether the steel contains the minimum 10.5% chromium content remains inconclusive. Employees of the Krupp works, Eduard Maurer and Benno Strauss, also worked from 1912-1914 on developing austenitic steels using <1% carbon, <20% nickel and 15-40% chromium. Not happy with Europe hogging the glory, the USA got in on the act. Firstly, Elwood Haynes, after becoming disenchanted at his rusty razor, set out to create a corrosion resistant steel, which he supposedly succeeded in doing during 1911. Two other Americans, Becket and Dantsizen, worked on ferritic stainless steels, containing 14-16% chromium and 0.07-0.15% carbon, in the years 1911-1914. Elwood Haynes During 1912 Max Mauermann of Poland is rumoured to have created the first stainless steel, which he later presented to the public during the Adria exhibition in Vienna, 1913. Finally, a recently discovered article, which was published in a Swedish hunting and fishing magazine in 1913, discusses a steel used for gun barrels, (sound familiar?), which seems to resemble stainless steel. Although this is purely speculation, the Swedes have still made an audacious claim that they were in fact responsible for the first practical application for stainless steel. That concludes the shambolic discovery of stainless steel! Although there is much mystery and speculation behind the discovery of this wonderful material, there is no question that without the combined effort of all the above scientists and metallurgists, (and all the many more that were not mentioned), we would not have such a rich and versatile metal at our fingertips. https://bssa.org.uk/bssa_articles/the-discovery-of-stainless-steel/#:~:text=On%20the%2013th%20August%201913,the%20first%20ever%20stainless%20steel. This stainless steel container was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Medical box; rectangular stainless steel base and separate lid, from the W.R. Angus Collection.warrnambool, flagstaff hill maritime museum, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, medical treatment, stainless steel medical container, medical container, stainless steel

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/Ceramics have evolved over thousands of years.White earthenware dinner plate. Crazing evident all over.Backstamped ‘Made in England S LTD’flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ceramics, tableware

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/Ceramics have evolved over thousands of years.A white earthenware side plate with a gadroon edge. Has water marks and chips on front.‘Johnson Bros England Reg No 15587’flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, johnson bros, ceramics, tableware

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/Ceramics have evolved over thousands of years.Earthenware dessert plate, cream colour. Made by Alfred Meakin, England. Backstamped ‘Alfred Meakin England’. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, ceramics, earthenware, kitchenware

The "letters to Lillie" show the international nature of the Mission to Seafarers. They are an important display of the handwriting style of the time, revealing courting attempts and give us an insight into life in 1925. Page 1 S/S City of Norwich Port Said My Dear Old Lillie, Well, I never got so much of a shock in my life, when your postcard turned up 2 days before my birthday, wishing me many happy returns, for which I thank you sincerely, and am sorry to say I had forgotten yours, or being very quiet about your various qualities, you would not tell me. Well to get on with the news, the next day I had a telegram to report at the Line head office, on the 15th Aug. early, imagine how I swore, as a little do was to [be] held at night, they immediately shored me on this ship S/S City of Norwich to go to Port Said, then join the City of Corinth bound for Boston & New-York so I may come out to “little Aussie” again from there with a little luck, any way we ought to be in New-York about the 19th Sept to stay a month, I will write you more in detail from there, if you feel inclined and have forgiven me for being so long about answering your last letter, could you write to S/S City of Corinth, C/o Norton Lilly & Co, New-York. U.S.A. I would jump like L”l Page 2 how is the cow milking going on, but still that joke is as unfair as the small joke about my age now, both afflictions being cured by now I hope. Well really I am no letter writer and can find very little to interest you on paper Lillie, and my photo, I hate being taken as much as you, but will do my best, if you can wait a little please, hoping you are getting one that awfully exciting week with the mission as you call it. You must be A.1 actresses to amuse such a motley crew. Hoping you are all well at home, give Mr & Mrs Duncan my kind regards, sending my best love to you dear. Hoping you will recognize me if I can come along. with tons of love, Howard. P.S. I hope to be a little more sophisticated when I come next time [-] you may be able to tell me. Lillie Duncan was a member of the Harbour Lights Guild and this letter forms part of a collection of letters sent to her by different seafarers.Letter addressed to Miss L Duncan, 11 Paxton St, East Malvern, Melbourne, Australia from Howard in three parts: Part 1.1 (0007.1) Envelope Part 1.2 (0007.2) First page of letter Part 1.3 (0007.3) Second page of letter The pages, as is the envelope, are a creamy yellow colour with black cursive writing on one side of the page. Page 1 of the letter begins with the salutation "My Dear Old Lillie...". Page 2 of the letter concludes with "...you may be able to tell me".The envelope is torn across the top for access to its contents. It has two stamps on the top right hand corner both with the text "Port Said 23AU25.4.5P".lillie duncan, howard, port said, lhlg, ss city of norwich

The "letters to Lillie" show the international nature of the Mission to Seafarers. They are an important display of the handwriting style of the time, revealing courting attempts and give us an insight into life in 1925.Lillie Duncan was a member of the Harbour Lights Guild and this letter forms part of a collection of letters sent to her by different seafarers.Letter addressed to Miss Lillie Duncan, 11 Paxton St, East Malvern, Melbourne, Australia from Julius Kokx, U.S.S. Medusa, c/o Postmaster, San Francisco, 5th Div Calif. consisting of eleven parts: Part 0070.1 Envelope Part 0070.2 Medusa Mechanic Newsletter Parts 0070.3 - 0070.11 Handwritten letter The envelope is cream in colour with darker edges from aging whilst the pages are a lighter cream colour. Page 1 of the letter begins with the salutation "Dear Miss Duncan: I recieved both...".Page 2 of the letter begins with "girls in Melbourne. you are the only one...". Page 3 begins with "it but found out it...". Page 4 begins with "a girl like you...". Page 5 begins with "married. So what's a...". Page 6 begins with "and as goof as we...". Page 7 begins with "in and you must...". Page 8 begins with "Have a place to sit..." Page 9 begins with "it will be a long..." and ends with the salutation "The kind sailor as you call him x. Julius Knox." All pages of the letter are only written on one side except for page 9, on which Julius Knox has written his address in the States and in New Zealand.The envelope is torn across the back vertically towards the right of the flap but the flap is mostly in tact. It has three stamps. The first is a circular one in black ink towards the top centre of the envelope reading "AUCKLAND 21 AUG 3PM 1925 N.Z.". The second stamp is a large rectangular one in black ink in the top right of the envelope reading "ASK FOR AND BUY NEW ZEALAND MADE GOODS". The third stamp is slightly obscured by the the second ink stamp. It is a red and white stamp positioned at the top rigt of the envelope reading "Dominion of New Zealand Universal Postage One Penny".lillie duncan, letter, lhlg, julius kokx, uss medusa, auckland, new zealand, san francisco, california, lillian duncan

This article was published on March 28th 1910 when Henry Lawson spent some time in a bush camp at Mallacoota, set up E.J. Brady who later recalled Lawson's visit, "We were in our first camp on Captain's Point, living like gipsies. The fishing was good, the shooting was good and a temporary solving of the economic problem had left one free to write when and what one liked - in blessed literary emancipation and far enough from all that vulgar, strident condition that is miscalled 'modern civilization'". The article describes an event that took place on March 6 and is attributed to Henry Lawson.This item is a contemporary record of the writing of Henry Lawson, one of Australia's best known poets.A newspaper clipping from the Eden Magnet. It is titled "A Day at Mallacoota (And A Night Too).handwritten at top - March 28th, 1910 below title -11/3/6newspaper-clipping-eden-magnet lawson-henry-mallacoota

Black and white photographs - 2 copiesTyped below photograph, "Boiler explosion at Ringwood station 20/6/1894. Heard in Box Hill". Article from newspapers:- Weekly Times (Melbourne, Vic. : 1869 - 1954), Saturday 27 January 1894, page 21 Official enquiry. The Board of Enquiry appointed by the Railway Commissioners to enquire into the causes of the boiler explosion which shattered the locomotive at Ringwood on Saturday night, assembled at the Railway department on Wednesday to commence its deliberations, The board consisted of Mr R. Fulton, engineer, C. W. McLean; engineer to the Marine Board, and Mr Mephan Ferguson, iron-founder. There is some difficulty at the outset about the constitution of the board; It was suggested that the Apt of Parliament contemplated that boards of experts, after the manner of the present one, needed, to have their appointments confirmed by the Governor-in-Council. The point, however, was not considered sufficiently important to prevent the board from proceeding with evidence. Robert Greyford, stationmaster at Ringwood, was the first witness. He said he saw the explosion on Saturday night at about twenty minutes to 8. There was a rush to the engine to see what had happened, and the driver and fireman were both found on the platform of the engine. The driver seemed badly hurt, but the fireman, to all appearances, was not so badly injured. They were both attended to and sent up to Melbourne by the last suburban train. Witness had a look at the engine and found the dome and all the plates round the boiler blown clean, away. The springs were also blown clean away. The Chairman (Mr Fulton) : Did you measure the distance ? Witness: Yes; one of the plates was 209 yards away. A piece from the top of the boiler 15 pounds in weight he found driven into the hard beaten track 410 yards away. Several pieces of boiler plate were found scattered at various distances. The buildings roundabout were injured. The Chairman; Did you notice anything peculiar about either of the driver or the fireman ? — No ; nothing wrong, with either of them. If the engine was blowing off at all, it must have been very light. In your opinion, were they perfectly sober ? — Perfectly. In approaching the station, is there a down or an up grade? — A very slight down grade. How is the road from Healesville ? — Up and down all the way. It is down, grade for about 200 yards coming into Ringwood station. They shut off ; steam about a quarter of a mile away, and come in at a good pace. They generally put on 15 pounds of steam while they are in the station. Mr Ferguson : Had the driver the usual load on ? — Yes ; about the usual load. Witness added that he had known the driver personally for about 10 years, and he had always been a careful, steady, sober man. He did not know the fireman so well. John Palmer, porter at Ringwood station, also saw the explosion. He was attending to the train on its arrival. He was knocked down by the force of the explosion. When he got up he saw the engine driver being carried into the office covered in blood. He noticed nothing peculiar about the driver and fireman, nor about the engine. Mr McLean : How far were you from the engine when you were knocked down ? — From ten to fifteen yards. William Paul, the guard of the train to which the injured locomotive Was attached, said he was looking at the engine at the very moment the explosion occurred. It seemed to come from exactly under the dome. The force of it took him off his feet. He was about 15 yards from the tender. When he rose he tried to reach the engine, but could not do so on account of the steam and coal dust. He called out to know whether any of the passengers were injured, and got no response, so that he concluded they were all right. All the lamps but about half dozen were extinguished by the force of the explosion, although the glass was not broken. He could testify most distinctly that the driver and fireman were both sober. The driver was a man who never drank. The steam started to blow off about a minute and a half before the explosion took place. The last place at which the engine took water was Healesville. The Chairman : Do yon know anything of the quality of the water there ? Is it creek water ? — Yes ; it comes from the Graceburn River. You never heard of its quality ?— No. How long have you known this engine on the road— About 13 months. Hew long have you known the driver on this line ? — About six weeks. I have known the fireman several years. The driver was a strict teetotaller, and I never saw the fireman take anything to drink in his life. Mr T. H, Woodroffe, chief mechanical engineer of the Victorian Railways, produced a report he had written to the secretary, about this explosion. The document gave facts concerning the engine and the explosion. It stated that the rapture seemed to have occurred at the rim of the plates adjoining the fire box. The engine was built at the Phoenix Foundry, Ballarat, in 1883. It was repaired at various times, the last time being in July of last year when it was sent to the Port Melbourne shops, and was then tested to a cold water pressure of 195 and found all right. It was the custom to overhaul all locomotives about every five years. The Chairman : There were no very heavy repairs in July, 1893; were there? — Not to the boilers. The shop manager's report says that the plug and safety tap holes were repaired, five new copper studs put in firebox, ash-pan door repaired, tender cleaned and overhauled, and studs re-rivetted, and boiler tested to pressure of 195, cold water. Mr Woodroffe read the report of the repairs effected to the boiler in December, 1888. That would be the time the plate was put in the boiler. On that occasion three new plates were put in the bottom and the boiler tested up to 195. The Chairman: Do you keep a record of the water used ?— Yes, the water in this case, I think, came from the Maroondah scheme. Mr Woodroffe said boilers were examined front time to time in the running sheds. In his opinion every possible care had been taken to keep the engine in proper care. There might, however, be lessons learnt from this. The Chairman: No doubt. From his examination of the plates [the] witness did not think the state of them could have been detected from the outside. There were no signs of leakage or sweating or anything of that sort. The next witness- was Walter Stinton, workshop manager at Newport and he said that the injured engine had been repeatedly repaired under his charge. He gave a technical account of the repairs effected on various occasions. The testing of locomotives was under his special notice. They had a high pressure pipe running; round the works, and a pump set at 2001b. When the boiler was pumped full of water the pressure when applied up to 1951b. The board appointed by the department to inquire into the Ringwood locomotive boiler explosion sat again at Spencer street on 25th inst. Mr R. Fulton presided and the other members of the board were. Mr Mephan Ferguson and Mr C. W. McLean. Charles Grubb, foreman of the boiler-makers at the Newport workshops, said he had inspected the pieces of plate that had been blown out of the engine, and after examining them, pointed out to the Chief Mechanical Engineer the portion where the plate had started to burst. It was under the lap, on the right hand side of the boiler. The grooving might be accounted for by bad water. During the past twenty years he had examined all the boilers that came into the Williamstown workshops, and while some were hardly marked at all, others were very badly eaten away. The practice was to cut out the defective portions. In this case the boiler was repaired in a similar manner. The Chairman : Can you suggest any other way of repairing so as to prevent accident ? — No, unless by taking out a plate on one side from the joint, and carrying it further up so as to avoid the joints meeting, or by taking out the plate altogether. What would.be the cost .of putting in a new " plate I—Perhaps about double the price; but I wouldn't recommend that course. It would be putting a new plate against plates that have been in use ten years or so and that would not be advisable. I think the present system better. I consider the present system of repairing the best. This is the first we have had so bad like that, to my knowledge. You attributed this to bad water. Is there no other probable cause ? — Well; unless the iron be bad. This was Lowmoor iron. I think this accident was caused by the eating away of plates. This one was the worst I have seen, for the short time it had been running. We use three classes of iron — Lowmoor, Monkbridge and Bowling. By Mr Woodroffe (Chief Mechanical Engineer) ; There are engines still running that were repaired at the same time as this one, in 1888, and. in the same way. These are engines 339 and 333. They have been recently examined and are in splendid order. What in your experience, is the age of a boiler on the Victorian railways? — From 17 to 20 years our earlier boilers stood. The later boilers don't stand so well. How is that? — There is difference in construction, and the material is lighter. The old boilers had thicker plates. Have you been asked in any way to curtail boiler affairs? — No, sir; nor in any way. You have never hesitated to carry out any necessary repairs? — Never. Our orders have been to exercise every care in examining, repairing and renewing boilers. Witness said that his practice was when an engine came into the workshop to find out how long she had been running. If over five years, he informed the workshop manager, and they thought it necessary the tubes were taken nut. If everything was in good order witness reported to the manager. The cost of taking out the tubes and putting them in again was about L20. Mr Woodroffe : Have you ever hesitated to repair a boiler on the score of expense ? — No, never. Mr McLean : Hew do yon ascertain whether a boiler requires repairs?— I keep a record of every boiler examined. From every boiler that comes in I have the dome covers taken off, and when it is practical I get inside. l can almost tell from the top of a boiler what the bottom is like. If there is any doubt about it I have the tubes taken out. If I have suspicion of defective plate I cause to have bored a triangle in the plate at the point where there is the most wear. There is a travelling inspector who visits all the running sheds of the colony except Port Melbourne and tests the boilers. He reports to us and we note what he points out. Alfred Thompson, locomotive inspector of the eastern section, said he knew this engine, 297R. He read a list of her repairs. He heard of the accident on Saturday night and went up to Ringwood. The Chairman : Did you ever notice anything peculiar about the engine? — No, I considered her A1 and would not have hesitated to have put on 140lb pressure owing to the repairs she had undergone. Witness considered that the explosion was caused by the expansion and contraction of the plates ; and, no doubt, the plate had been eaten away through bad water. The other side of the boiler showed: signs of corrosion: By Mr Woodroffe ; Is every care taken with the boilers ? — Yes, every possible care is taken for the safety of boilers, Weekly Times (Melbourne, Vic. : 1869 - 1954), Saturday 27 January 1894, page 7 EXPLOSION OF A LOCOMOTIVE BOILER, NARROW ESACPE FROM FATALITIES. THE DAMAGED ENGINE. [See drawing of loco – saved in “Railways” folder] The explosion of a locomotive boiler at Ringwood on Saturday evening, formed the subject of much discussion in railway circles on Monday. The Minister arrived at the office at an unusually early hour and immediately entered into a consultation with the acting chairman, Mr Kibble, and Mr Commissioner Murray. As the result of the interview it was resolved to ask three gentlemen of acknowledged engineering experience to sib as a board with the . object of inquiring into the cause of the accident and furnishing a report. Mr Richardson and the Commissioners are tally seized of the importance of having a searching investigation into the accident, and, with Mr Murray, the former went to Ringwood to inspect the scene of the disaster. They will he accompanied by Mr Woodroffe. During the morning no official report had come to hand from the driver or fireman of the engine in reference to the accident, but that is thought to be due to the circumstance that they have not sufficiently recovered to be able to give a circumstantial account of what occurred. The engine was one of the old R's, and, Mr Kibble pronounced them to be about the best class of engines used. So far nothing can be said as to the probable cause of the accident, as the broken plating of the engine has not been submitted to the inspection of experts. Weekly Times (Melbourne, Vic. : 1869 - 1954), Saturday 27 January 1894, page 7 STATEMENT BY THE FIREMAN. This morning Thomas Miles, fireman on the engine the boiler of which exploded on Saturday night, is suffering from an injury to the spine, as well as a very severe shaking to the system. He states that he was fireman on the engine attached to the train which left Healesville on Saturday evening, at ten minutes to 8. Everything went all right until Ringwood was reached, when, .just as the train was about to continue its journey, a load explosion took place and Miles remembers nothing more until he was picked np on the platform ; and found himself suffering from a pain in the back, and an injury to his arm. He cannot think of any reason which could have caused the explosion, as there was plenty of water in the boiler, and everything seemed working all right. Mr R. Fulton, consulting engineer, of Queen street; Mr McLean, a member of the Marine Board ; and Mr Mephan Ferguson, engineer, have consented to act as a board to inquire into the cause of the engine boiler explosion at Ringwood on Saturday evening. The board has been appointed under section 117 of Act 1135, which provides that the Governor-in-Council may direct the taking of a such a step. Mr1 Fulton will act as chairman of the board, which met for the first time at the railway offices, Spencer street, this forenoon. Before separating the members of the Board paid a visit to the Prince's Bridge locomotive sheds in company with Mr Woodroffe, the chief mechanical engineer, for the purpose of inspecting the shattered boiler. It has been stated that the explosion is known to have been caused by a flaw in a plate which was put on the boiler about four years ago, but enquiries have tailed to elicit anything in support of that view. The engineers connected with the department are not inclined to say anything on the subject. Weekly Times (Melbourne, Vic. : 1869 - 1954), Saturday 14 April 1894, page 20 The Ringwood Boiler Explosion, The Minister of Railways has received the supplementary report of the board appointed by him to investigate the circumstances connected with the explosion of a locomotive boiler at Ringwood. In their first report the board did not attach blame to anyone. Mr Richardson felt satisfied that the responsibility of having the engines properly inspected and overhauled periodically could be fixed if the inquiry were extended. He therefore referred the matter again to the Board, who took further evidence. In the report now furnished, the Board hold Loco. Inspector Thompson blameable, but point out as a mitigating circumstance that he had not received "written instructions" respecting inspections and overhauls. Weekly Times (Melbourne, Vic. : 1869 - 1954), Saturday 7 July 1894, page 32 The Ringwood Boiler Explosion. The Minister of Railways takes exception to the tone of a paragraph appearing in a morning contemporary respecting the Ringwood boiler explosion. It makes it appear that Mr Richardson has referred the report of the board which considered the facts connected with the explosion to the Crown solicitor simply because he differed from the finding of the board. The Minister explains that when he received the report he found that the responsibility for having boilers properly inspected and overhauled had not been clearly fixed. He personally obtained farther evidence on that point, and arrived at a conclusion, from which the commissioners differed. As he did not like to take upon himself the responsibility of deciding upon the effect of the evidence, he submitted the matter to the Crown Solicitor, but that officer did not furnish him with the information sought. He has, therefore, referred the question to the Attorney-General, together with the draft of a regulation respecting boiler inspections and overhauls in the future. Mr Richardson says that his whole aim is to have the responsibility positively fixed. Weekly Times (Melbourne, Vic. : 1869 - 1954), Saturday 28 April 1894, page 23 The Minister of Railways has completed his consideration of the supplementary report received by him from the Ringwood Boiler Explosion Board. The report, it will be remembered, held Loco-Inspector Thompson blameable for the non-inspection of the boiler, but considered there was extenuating circumstances. There was a certain amount of doubt as to the absolute instructions given for overhauling engines periodically. Mr. Richardson is sending the report on to the Commissioners with instructions that the responsibility respecting inspection of boilers shall be made clear for the future.

The pair of photographs of Mr Henry and Mrs Mary Jane Giles was made by the International Art Company, the price was 30 shillings and the choice of frame was Rosewood. It is part of the Giles Collection, which also includes a photograph of the couple's daughter Christina Giles, who died in 1899 aged seven years. There are many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940.This photograph is locally significant due to its association with a local pioneering family. The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation. The photograph itself is of added significance as we can see the faces of the family whose lives the collection represents . Portrait photograph mounted in an oval rosewood frame, one of a pair. This photograph is Mary Jane Giles, dressed formally showing chest to head. Her hair is tied back hair and she has a neck band. The couple in the pair of photographs is Mr and Mrs Giles of Woodford, Victoria. The photographic studio was the International Art Company. It is part of the Giles Collection.Inscription on back of frame "International Art Company 30/-" "Rosewood"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, photograph late 1800s, oval wooden frame, portrait, mrs mary jane giles of woodford victoria, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century personal effects, mary giles, christine giles

In 2016 the Welcome to Eltham community project started to welcome Syrian refugees into the community and made Welcome Butterflies to say welcome to them. In addition to the physical book, EDHS also holds several hundred digital images pertaining to the development of the Welcome to Eltham campaign, photographs, artworks and graphic designs, which resulted in the publication of this book. EDHS also holds further material from the period 2016 to 2017 associated with the Welcome to Eltham campaign group. Contents: 1. Welcome Book Welcome Book includes selected page extracts and images as published December 2016 Contents: • Greetings to our Country P2 • Offering P8 • Your neighbours P10 • Rotary P39 • Eltham Baptist Church P44 • Eltham Farmers Market stall holders P48 • The Eltham community P54 • Surrounding communities P60 • Our Lady Help of Christians Primary School P64 • Nillumbik Greens P66 • Our Lady Help of Christians Church Eltham P68 • Catholic Care Eltham P70 • St Vincent’s P71 • Montmorency South Primary School P72 • Victoria Police P73 • Catholic Ladies College P74 • Warrandyte P76 • Eltham Toy Library P78 • Eltham-Montmorency Uniting Church P82 • Gingerbread P84 • Scouts P86 • Eltham businesses P89 • Surrounding communities P96 • The Seed P101 2. Administration 1. Welcome to Eltham Infant Plan, Purpose and Scope (Aug. 2016) 2. Circle of Friends; A draft proposal from Welcome to Eltham, 26 August 2016 3. Welcome to Eltham; a resident support group for refugees settling in Eltham (Sep. 2016) 4. Welcome to Eltham; Purpose and Scope (Sep. 2016) 5. Welcome to Eltham Plan (Sep. 2016); 10 pages typed of tasks broken into four categories, 10 pages 6. Welcome to Eltham Team/Volunteer organisation structure, volunteers’ skills assessment and role assignments, strategies, 11 pages 7. Briefing Document: Refugees being welcomed in Eltham, 2 Oct. 2016; 5 pages 8. Public Engagement Plan, 2 Oct. 2016; 2 pages 9. Welcome to Eltham 2016 Review, Values and Structure, 2017 10. Welcome to Eltham Incorporated Financial Report July 2016 – June 2017; 3 pages 11. Letter: Nina Kelabora and Welcome to Eltham Team to Bolton Street Fruit Market re offer to provide fresh fruit, 30 Jun. 2017 12. Welcome to Eltham Incorporated Annual Report 2016–2017; Oct. 2017; 4 pages 13. Certificate: Jagajaga Community Australia Day Award 2018 to Nina Kelabora, signed Jenny Macklin MP, Federal Member for Jagajaga 14. Certificate: Jagajaga Community Australia Day Award 2018 to Welcome to Eltham, signed Jenny Macklin MP, Federal Member for Jagajaga 15. Letter: Simon Le Plastrier, Principal, Eltham College to Nina Kelabora, 20 April 2018 offering congratulations for the work achieved by Welcome to Eltham group 16. Photo: River pebble covered in spray paint of multiple colours. The rock was used to hold down templates for painting butterflies on the footpaths near Andrew park as a counter to protesters assembling for the ‘Battle for Eltham’ demonstration on 5 November 2016 17. Photo: Welcome to Eltham team member, Gillian Essex 18. Photo: Welcome to Eltham team member, Kirsten Bate 19. Photo: Welcome to Eltham team member, Lara McKinley 20. Photo: Welcome to Eltham team member, Nina Kelabora 21. Photo: Welcome to Eltham team member, Sarah Hooten 22. Incorporation • AGM-minutes-2017 • Certificate of Incorporation • Mission and Values • Ordinary Business of the AGM 2017 • Welcome to Eltham Rules 23. Advocacy • Eltham Butterfly Effect Corflute panel design 5 November 2016 Rally • MemeFest PowerPoint presentation 23 November 2016 • Oxfam PowerPoint presentation 16 June 2017 • Eltham Rotary PowerPoint presentation 1 June 2017 • Welcome to Eltham Gift Card artwork 3. Artwork • Logo: Welcome to Eltham • 12 artworks by children of the Eltham Child Care Co-Operative (ECCC) o Me at the Immigration Museum by Ethan B. o Immigration Museum by Edie o Me with my family and lots of hearts by Charlotte o My suitcase like the refugees we learnt about with Bec by Jarvis o Me at the football with my friends by Harley o My suitcase if I had to leave the country by Ellen o Me at the park near the library by Chloe o Books at the library by Addison o Ethan’s grandfather who died in the war and this is him in his grave by Ethan o A nursery by Annabel o The age care home we visit by Ari o This is my mum the Ranger by Mia • Butterfly Effect, Ona Henderson 2016, inscribed “Dedicated to Nina, in appreciation of your butterfly effect for ‘Welcome to Eltham’; reproduced p1 • Ona and Sid gifting her artwork for use by the campaign; reproduced p1 • Duat and Iuk, Mandy Nicholson, Wurundjeri woman; reproduced p3 • These hands welcome you to Australia, Mungo, Warrandyte resident; reproduced p9 • The Library by Rose; reproduced p15 • Welcome to Eltham from Maia; reproduced p19 • Billy, Warrandyte resident; reproduced p20 • Through my window, Janet Boddy; reproduced p23 • Eryn and Lachie, Eltham residents; reproduced p25 • Eva, Eltham resident; reproduced p29 • This is the community hall across from my house by Cinta; reproduced p30 • Welcome, Brenda, Eltham resident; reproduced p34 • Flying over Kerry Crescent, Kerry, Eltham resident; reproduced p38 • A dragon called 'fat' from Joe, 6; reproduced p42 • A rainbow-heart-welcome from Trixie, 8; reproduced p42 • A lovely message from Sarah; reproduced p53 • Monique; reproduced p56 • Tom; reproduced p56 • Josh; reproduced p56 • Chloe; reproduced p56 • Jack; reproduced p57 • Mia; reproduced p57 • Ann Curry, Montmorency resident; reproduced p60 • From Mia: "Keep your head up high and be confident. I'm sure that you will soon find that Eltham is a very nice place and I hope you can have a happy life."; reproduced p77 • Amy; reproduced p79 • Ben; reproduced p80 • Welcome, Kayla, Warrandyte resident; reproduced p94 • Lucas; reproduced p98 • Ale; reproduced p98 • Grace; reproduced p99 • Hugo; reproduced p99 4. Australian-Syrian Charity • ASC – Certificate of Appreciation; Awarded from Australian-Syrian Charity presented to Welcome to Eltham Group by Rev. Fr. Samir Haddad, ASC president, 30 Sep. 2016 including two images of Father Samir and WTE organiser, Nina Kelabora 5. Butterflies • 148 images of handcrafted butterflies and artwork of butterflies edited for reproduction throughout the Welcome to Eltham book and for use on other placards, gift cards and promotional materials including the original source photographs (232 total) • 128 other images of butterflies submitted or photographed installed at various locations around Eltham • 11 images of metal butterfly artworks created by Linda MacAulay and Tim Read showing the works during creation at Bend of Isles and at initial install at the roundabout on Main Road at Luck Street then at the final install to greet the new arrivals and residents alike at St Vincents Aged Care Services (since demolished). 6. Eltham and Surrounds Residents and Local Businesses • 195 photos (157 published in book) submitted by local residents and businesses with people holding Welcome to Eltham placards including: Eltham Farmer’s Market, Eltham Baptist Church, CatholicCare Eltham, Nillumbik Greens, Hurstbridge Wattle Festival, Our Lady Help of Christians Eltham, Our Lady Help of Christians Primary School, Montmorency South Primary School, Warrandyte Primary School, Bronnie Hattam, Mayor, Nillumbik Shire Council, Vicki Ward, MP for Eltham, Jenny Macklin, Member for Jagajaga, Bend of Isles, Eltham Toy Library, Eltham Library, Eltham-Montmorency Uniting Church, Catholic Ladies College (CLC), First Eltham North Scouts, Warrandyte Primary School, Ona Henderson and many individuals and businesses. 7. Events • Alistair Knox Park, 12 August 2016 • Syrian Community Dinner, 30 September 2016 • Pop up Picnic, Eltham North Adventure Playground, 1 October 2016 • Alistair Knox Park, 7 October 2016 • At Our Lady of Help of Christians, 7 October 2016 • Andrew Park Butterfly Effect v Battle for Eltham, 5 November 2016 • City Rally, 5 November 2016 • Eltham Library Children’s Garden, 12 November 2016 • Eltham Festival, 13 November 2016 • Welcome Book Fundraiser, St Margaret’s Church, 11 December 2016 • Nillumbik International Women’s Day Dinner 9 March 2017 • Bush Dance, 17 June 2017 • Eltham Police Morning Tea, 29 July 2017 8. House warmers • Approximately 40 images of gift care items donated (food, drink, blankets, etc) intended as housewarming hampers 9. Media Media Releases • Eltham elders take to social media to welcome refuges, video goes viral; Wednesday 28 October 2016 • Eltham locals use their bodies to say WELCOME to refugees; 1 October 2016 • Community group welcomes Minister’s decision so refugees can call Eltham home; 5 October 2016 • Locals answer far-right “Battle for Eltham” with butterflies: thousand of them; 5 November 2016 Newspaper articles • Group fosters goodwill; organisation works to assist refugees; Brittany Shanahan; Diamond Valley Leader, Wednesday, August 17, 2016, p3 • Refugees are welcome (Gillian); Care is for the elderly alone (Fred); Plenty of positives in plan (Kirstin); Open your hearts and doors (Alison); Flood of families a worry (Cath), Conversations, Diamond Valley Leader, Wednesday, August 17, 2016, p11 • Support refugee housing; Diamond Valley Leader, Pamela Nash via Facebook, Janet R. Body, Eltham, Glenise Michaelson, Montmorency; Letters (online), 5 October 2016 • Refugees find a haven, and, Groups to fundraise for arrivals; Wednesday, October 12, 2016, p5 • Site for resettlement of refugees on a flood plane (Jacquie Bellchambers); Accommodating young families from a foreign culture in an established western culture retirement home will only lead to both parties feeling …. (Margit Alm); Great news for our community … (Nean Tatnal); Conversations, Diamond Valley Leader, Wednesday, October 12, 2016, p19 • Refugee scrap looms; daughter of Eltham aged-care resident upset as extreme group hijacks debate; Brittany Shanahan. Diamond Valley Leader, Wednesday, October 26, 2016, p1 • Many ready to welcome refugees into community (Megan Anne) and others; Conversations, Diamond Valley Leader, Wednesday, October 26, 2016, p20 • On a wing and a prayer; Chris Vedelago, Tammy Mills and Mark Hawthorne; Sunday Age, November 6, 2016, p3. – It was billed as the “Battle for Eltham”, but in te end the butterflies carried the day. • Rally hits trade; Diamond Valley Leader, Wednesday, November 9, 2016, p1 • Protests bad for business; Brittany Shanahan; Diamond Valley Leader, Wednesday, November 9, 2016, p8 • Police earn praise for keeping protest calm; Re: Battle for Eltham rally (Maree Quinlan) and others; Conversations, Diamond Valley Leader, Wednesday, November 9, 2016, p14 • Butterflies to counter anti-Muslim protest; Bianca Hall and Marissa Calligeros, The Age, November 5, 2016 • Rally created challenges but it’s time to move on; Re: Battle for Eltham rally (Local Area Commander Acting Inspector Danielle Leemon) and others; Conversations, Diamond Valley Leader, Wednesday, November 16, 2016, p19 • Praise for warm welcome (Linda Jajawi) and others also photo “Officers from Eltham police station welcomed newly arrived refugees to the community”; Conversations, Diamond Valley Leader, Wednesday, August 9, 2017, p15 • Refugees welcomed; Diamond Valley Leader, n.d. 2017, p12 • Refugee plan riles; Retirement centre residents voice concerns; Brittany Shanahan, Diamond Valley Leader; n.d. 2016 Facebook Responses • Responses top frequent Facebook comments regarding the housing of refugees in aged care at Eltham 10. Placards and Promotional Flyers • Selection of placard images and Welcome to Eltham Gift Card artwork 11. St Vincents • Two hand drawn sketches showing plan views of proposed front and rear units at St Vincents to be used by refugees 12. Videos • Feisties; several local seniors read online comments made by objectors and offer their own opinions; 00.02.28 • Tour of unit at St Vincents, 31 July 2016; 00.00.44 • Drone view of people creating Welcome sign at Eltham North Adventure Playground, 14 September 2016; 00.00.14 • Launching of the butterflies (campaign); Nina Kelabora releases the first butterfly into the wild; 00.00.24 • Gillian Essex, Welcome to Eltham, discussing counter strategy to protest demonstration (Battle for Eltham) scheduled for later in the day; 5 November 2016; 00.01.45 • Glenise Michaelson, Eltham local for 69 years discussing counter strategy to protest demonstration (Battle for Eltham) scheduled for later in the day; 5 November 2016; 00.01.30 • The Butterfly Effect, counter strategy to protesters 5 November 2016 Battle for Eltham rally; 00.02.24 with ten associated photos of the seniors involved; 31 October 2016 • Butterfly art ninjas 1 (15 secs), 2 (26 secs) and 3 (14 secs), showing the butterflies remaining in existence on the paths around Andrew Park, 16 November 2016 • Butterfly capture and release with Nina Kelabora– butterflies around Andrew Park relocated to the Children’s garden at Eltham Library, 17 November 2016; 00.00.28eltham (vic.), welcome to eltham (vic.), syrian refugees, refugees, social life and customs, butterflies, welcome butterflies, nina kelabora collection

From EDHS Newsletter No. 135 - November 2000 Marion and Russell Yeoman have had a letter from Margaret Taylor of Eltham England which includes the following:- "John Kennett went on a tour of West Norwood cemetery with the 'Edith Nesbit Society" and his eye was accidentally drawn to a mention of John Edmond SCHLOTEL 1838-1905 who was buried in ELTHAM VICTORIA. His mother was an Eltham girl." "Sophia (Sophie) Rowley, 1802-1870 was the daughter of James Rowley of Eltham (U.K.) who was an assistant teacher and married to Ann, maiden surname Tyhurst. She had older brothers and sisters baptised in Eltham 1795- 1801, namely Charity, Maria, Arthur Partridge, James Union and then Sophie, born 9th October and baptised 31st October 1802." "We have no idea where or when (not Eltham we think) but she apparently married Mr Charles Schlotel, who was possibly three years younger than herself. Their offspring included John Edmond SCHLOTEL 1839-1905 who was buried in your Eltham, Victoria. " This seemed like a bit of challenge to Marion who paid a visit to the Eltham Cemetery and almost immediately located the grave of Edmund John Schlötel who died on 12th May 1905 and was buried there on 14th May. The headstone says he was late of Brixton England. This is a double grave with no indication of who else is buried there. Cemetery records show that Elizabeth Schlötel was buried there in 1917. The records say that Edmund Schlötel came from Brighton England but a hand written version of Brixton or Brighton could easily be confused. Death records in the La Trobe Library record the death at Eltham in 1905 of Edward John Schlötel, son of Charles Bartholemew Schlötel and Sophia Ann Rowley. There appears to be nothing in the Evelyn Observer about Schlötel's death. SCHLOTEL.—On the 12th May, at his residence, Eltham, Edmund John Schlotel, late of Brixton, England, in his 66th year. Family Notices (1905, May 20). The Australasian (Melbourne, Vic. : 1864 - 1946), p. 60. Retrieved May 10, 2026, from http://nla.gov.au/nla.news-article139806588 A Google search in 2026 revealed additional information: E. J. Schlötel. (2026, May 10). Retrieved from https://nzhistory.govt.nz/suffragist/e-j-schlotel Elizabeth Salmon married Edmund John Schlötel, an accountant, on 17 October 1881 in Dunedin. Edmund had arrived on the Sebastian into Port Chalmers on 8 October 1859. He lived at Spylaw station in Otago before moving to Dunedin. In 1878 Edmund was the only candidate for the office of Mayor of North-East Valley and so was declared duly elected. Three years before this petition was signed Elizabeth and Edmund’s five roomed house in the North-East Valley was destroyed by fire. It was insured for £610 (about $109,000 in today’s money). (Biography contributed by Katherine Blakeley.) Elizabeth Salmon was born about 1851. She had a daughter, Nina, who was born about 1876 and was an accomplished violinist. The fire that destroyed their home was in 1890 - in the mid 1890’s the family moved to Victoria, Australia. Edmund died at their home in Eltham on 12 May 1905 and Elizabeth died in December 1917 – they are buried together in the Eltham Cemetery. Eltham Cemetery transcription details of the headstone recorded in November 1984: SCHLOTEL In loving memorry of Edmund John Schlotel late of Brixton, England, died 12 July 1905 aged 63 (Broken stone) edmund john schlötel, elizabeth schlötel (nee salmon), eltham cemetery, gravestones, film - kodak gc 400-6, headstones, russell yeoman collection, scan - 35mm negative

Collection re G.A. Jones 3790932, refer Cat No 10053.2P for service details. Photos numbered 11 - 18 follow in Cat No 10281.10P As per the sheet .11) .1) 1. The sleeping quarters at the camp. My room is the one with the mirror in front of it. .2) 2. Looking across the sports field at our 8RAR Canteen, there are seven ovals for our Battalion. It was just near the steps on the far side we saw the snake. .3) 3. Garrison Olympic Swimming pool (Patronized regularly) .4) .4 Protestant Denomination Church, except C of E they have their own. .5) 5. R.C. Church. .6) 6. Picture theatre at Garrison Shopping Centre. .7) 7. Self explanatory. .8) 8.A few of the shops. .9) 9. Supermarket (its just like Dickens) .10) 10. Me and Guss (another bloke in my Platoon) They aren't bad size glasses are they. .1) - .10) Ten colour photographs all numbered numerically on the back, 1 - 10 .11) Writing pad paper numbered both sides with a list of each photo and detail of each, a section of one corner is missing.On all photos at one end, "Oct 67"photographs, malaya, g a jones

This collection of three photos of the Australian information Technology Award (AITA) won by the Royal Australian Survey Corps (RA Svy) AUTOMAP 2 computer-based map production system, was taken in 1984 at the Army Survey Regiment, Fortuna, Bendigo. The following article appeared in the ARMY Newspaper on Thursday 21st February 1985. ‘In computerised map production. Survey soldiers lead the world. BENDIGO: Army surveyors have been put on the map as world leaders in computerised map production following the Australian information Technology Awards. RA Svy won the Computer Assisted Draughting – Mapping section for its Automap II System which has created considerable interest among overseas defence experts. The award for the digital mapping system was accepted by OC Air Survey Sqn, MAJ Rob John, who said it was a great morale-booster for the soldiers of the Bonegilla (sic)* -based Army Survey Regiment. "Setting up a state-of-the-art system like Automap II. is an enormous task, " he said. "We started in August 1983 and it's only recently that we have achieved production results. "We were all very pleased to have our efforts recognised in this way. “Of course, credit must also go to the Intergraph Corporation for manufacturing the system and carrying out most of the development." RA Svy is responsible for producing all of Australia's maps used for defence purposes. Its topographical maps have a scale of 1:50,000 or 1:100,000 although Automap II has the capability of producing smaller scale maps - down to 1: 2,000,000. Automap II consists of three computers and three sub-systems: input, raster scanning, and graphic edit. The input sub-system has eight stereo plotters, two interactive graphic workstations and a system manager workstation. The stereo plotters use superimposition optics to digitise features from aerial photographs. It incorporates a voice recognition system so the operator can simply say "House", "Windmill", etc; and the relevant feature will be incorporated in the digital picture. Individual map separations are scanned and converted by the raster scanning sub-system to a digital raster image. This image is then converted to a graphics file in Intergraph format.’ *Note – the Army Survey Regiment was located in Bendigo, not Bonegilla as incorrectly stated in the article. The article appears on Page 137 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. Additional history of the AUTOMAP 2 system with historic photographs is covered in pages 119, 137-143 and 157 of the 'Mapmakers of Fortuna’ book. See item 6223.23P for additional history and photographs of the AUTOMAP 2 system.This collection of three photos of the Australian information Technology Award (AITA) won by the Royal Australian Survey Corps (RA Svy)’s AUTOMAP 2 computer-based map production system, was taken in 1984 at the Army Survey Regiment, Fortuna, Bendigo. The photographs are printed on photographic paper and are part of the Army Survey Regiment’s Collection. The black and white photographs were scanned at 300 dpi. .1) - Photo, black & white, 1984, AITA Award sitting between the dual screens of an AUTOMAP 2 Graphic Edit Workstation. .2) - Photo, black & white, 1984, MAJ Job Johns (centre) and two of Intergraph Corporation IT engineers proudly hold the AITA Award next to an AUTOMAP 2 Graphic Edit Workstation. .3) - Photo, black & white, 1984, The AITA Award displayed on a pedestal in the Army Survey Regiment Officers Mess. .1P to .3P –No personnel are identified. ‘AITI Award to AUTOMAP II 1984’ annotated on cover sleeve. royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna

These are plans for alterations to the residence and surgery of Dr Angus in Koroit Street, Warrnambool (Birchwood). Dr William Roy Angus (1901-1970), after several years practising as a doctor in South Australia and northern Victoria, came to Warrnambool in 1939, purchasing the practice of Dr John Hunter Henderson (Birchwood). Dr Angus was a dominant figure in medical and community circles in Warrnambool for 30 years, becoming an important ophthalmologist in his later years. Birchwood, with its beautiful gardens, lawns and tennis court was suitable for entertaining and many distinguished people, including Vice-Regal personnel and representatives of the Red Cross stayed at the house. It was also a meeting place for representatives of the many organizations with which Dr Angus was associated (over 20 groups including the Good Neighbour Council, the Boys’ Club, the Food For Britain appeal, the Historical Society, Rostrum and the National Fitness Council). Birchwood or earlier buildings on the site was used as a residence/surgery by many doctors in Warrnambool, going back to the 1860s and Dr Angus and his family lived there from 1939 to 1967. In 1998 Birchwood was demolished and a new Warrnambool Police Station was built on the site. These plans are of interest as they show the 1939 alterations to the building known as Birchwood in Koroit Street Warrnambool. We have a good floor plan and a drawing of the front of the building so we know what it looked like in the late 1930s. Both Birchwood and Dr Angus are important in Warrnambool’s history. These are four sheets showing alterations for the residence of Dr Angus (Birchwood) in Koroit Street Warrnambool. One sheet shows the front of the house in colour drawn in ink and pencil and paint and there is a copy of this in black and white. The other drawing is of the plans for the house drawn in pencil and ink and with some red and blue colouring. There is another exact copy of this sheet. dr william roy angus, birchwood, history of warrnambool