The photograph was taken at an annual picnic organized by the Ithacan Philanthropic Society some time during the 1940s.Taking place annually for over 100 years, the picnic is one of the oldest and most enduring events on the Ithacan Philanthropic Society's social calendar. It continues to attract large numbers and is an opportunity for the generations of Ithacans to reunite. A mounted black and white photograph of a group of men at a picnic.

The photograph is taken at an annual Ithacan picnic, c1940s. Several of the individuals in the photograph are wearing the medallion badges which were given to all attendees on arrival at the picnic. L-R: Dionysus Lecatsas, ----- , -----, Andreas Paizis, Georgia Raftopoulos, Katerina Lucas (Spot Cafe), -----, Athanasis Raftopoulos (Klapatzoura). The annual picnic organized by the Ithacan Philanthropic Society continues to be a popular event on the club's social calendar.A mounted sepia photograph of a group standing in a picnic ground. There are six men dressed in suits and two smartly dressed ladies. There is a small shed in the background in an open playing field.

The photograph was taken at the Ithacan Philanthropic Society's16th annual picnic. All who attended the picnic on that day were included in the photograph. The first picnic took place in 1918 at South Morang where 200 people attended. The picnics continue to be a popular social event on the club's social calendar attracting large numbers of the generations of Ithacan Australians in Melbourne.A mounted sepia photograph of a large group of men women and children gathered together in a large sports ground. There are two buildings behind them with trees growing in the background.

1950s Annual Ithacan picnic at Bacchus Marsh. Standing Nicholas Stratos, foreground L- R seated Zacharoula Mavrokefalos, Anna Stratos and Royal Stratos; back l-r: Nicholas Stratos, Mary Mavrokefalos, Stathoula (surname unknown), Denis Black, Gery Rigos, Agapi (Connie) Rigos. The annual Ithacan picnic is one of the oldest and most enduring social events for Melbourne's Ithacan community. First, second, even up to fifth generation Australian Ithacans reunite at this event. In the early days people travelled to the picnic grounds in furniture vans. A black and white photograph with a thin white border of a family group sitting on the ground around a picnic meal spread out in front of them. A partial view of a sedan car is visible on the LHS of the photograph. The names of the people in the photograph have been written on the back.varvarigos, rigos, varvaregos

Races were popular events at the Ithacan Philanthropic Society's annual picnic. The men's foot race was the highlight of the day. Pictured centre front of runners is the president, Andreas Papadopoulos. Since the first picnic in 1918, the event has been held at sporting grounds situated around Melbourne's urban fringe and remain a popular event on the club's social calendar.A sepia photograph mounted on a grey board with a darker grey border of five men preparing to race with four officials waiting for the race to start. The men are standing in a sports ground with a small rotunda and trees on the other side of the fence in the background.Written on the back: AGP - 4

The photograph features the debutante group who were presented at the 1947 Grecian Ball. Fifth from the left are: Mary and Bill Levis, Katina Kostopoulos, Mike Kostos, Desma and Jim Paizis. The Grecian Ball, organised by the Greek Community of Melbourne, was a highlight of the annual social calendar within the Greek community. The Royal Ballroom at the Exhibition Buildings was a popular venue for the event. The Grecian Ball ceased during the 1980s however has enjoyed a renaissance during 2022 and 2023.The early Greek and Ithacan communities adopted the tradition of debutantes at their annual balls. A black and white photograph with a white border at the top and bottom, of six debutantes and their partners standing in a line on a staircase.

Photo taken at Ithacan picnic as denoted by shield shaped badges worn by some of the group. Photographed: L-R back: Spiros D. Kallinikos holding baby Jack Collins (Kallinikos), Cassie Kallinikos (later Connell) and Kosta (Con) Kallinikos; front Chrisoula Sikiotis (nee Kallinikos), Evriklia Kallinikos (nee Kolaitou married to Sprios D. Kallinikos) and Nina Kallinikos (later Black - married to Nick Black). Spiros, Chrisoula and Kosta are siblings as are their nieces and nephew Nina, Cassie and Jack (the children of Maria and Spiros Kallinikos). Ithacan picnics have always been extremely popular and well attended. They were and continue to be an important event in the yearly social calendar of the Ithacan Society. Today, with an increasingly dispersed and diverse membership, the annual picnic is the ideal opportunity for young and old to gather and reconnectBlack & white family photo of two ladies, two men and three children in a garden setting.

From its earliest days, the Ithacan Philanthropic Society has conducted an annual family picnic held at country towns on Melbourne's urban fringe. For many years Bacchus Marsh was a popular venue where this picnic group was photographed. Women would prepare delicious traditional Greek food and families would group together to enjoy a wonderful picnic spread. The annual Ithacan Picnic has been a very important event on the society's social calendar. In the early days, as many of the families ran family businesses such as fruit shops, fish shops and cafes, Sunday was the only break they had away from their work. The picnic gave them a chance to relax and to catch up with extended family and friends. Today the picnic continues to be an extremely popular day for the members where generations of Australian Ithacans get the opportunity to reunite. A black and white photograph of a large group at a picnic standing and sitting around and enjoying a picnic meal which has been spread out on the ground. Three cars are parked in the background under the trees.

Dimitri Sofianos is seated in foreground of the photograph with his two children, Nina and Spiro (Pip). They are at an annual Ithacan picnic which they always attended as a family. The annual Ithacan Philanthropic Society's picnic is a very popular event on the club's social calendar as has been the case for many years. A partly faded black and white photograph of a group of people at a picnic. In the foreground a man has his arms around a little boy and girl. A table set out with food is in the background on the RHS of the phoptograph

Photographed from L-R Eleni Paliogiannis, Anthi Chilianis, Artemis Scotis (Sikiotis) at a restaurant whilst on a day trip to regional Victoria organised by the IPS. Events such as day trips and picnics were a very important means through which many Ithacans stayed connected. In particular, for the senior members, activities such as day trips were a welcome social outing. A coloured photograph of three ladies in a restaurant. Two ladies are sitting down and the other is standing behind them talking to one of the women.

Anastasia Coutsouvelis with her two sons, 20 year old Speros and 17 year old George attended the Ithacan Ball in 1957. The function was held at the Exhibition Building in Carlton.The annual ball has been a regular and popular social event on the Ithacan Club calendar since the 1950s, where members and their families and friends have an enjoyable night. A black and white photograph with a surrounding white border of a lady and two young men standing in front of a large white urn at a formal function.

The family group were attending the 60th anniversary Ithacan Ball in 1976 at the Old Melbourne Inn, which was located in Flemington Rd North Melbourne (opposite the Royal Melbourne Hospital). Standing from L-R: Steve Richards, Peter Lucas, Marlana Collins, Eula Collins and Jack Collins. Seated from L-R: Christine Collins, Iris Lucas, Aspasia Flocas, Sonia Heevian, Harold Heevian.The Annual Ithacan Ball has been held at a number of well known venues in Melbourne and been a popular social event on the Ithacan Philanthropic Society's calendar for many years. In the 1970s the Old Melbourne was a go-to place for dining and for entertainers to stay, including Liberace, Peter Allen and ABBA during their legendary 1977 tour.A black and white photograph of ten people at a social function. Five people are seated around a table and the others are standing behind the group.

Rini Sikiotis (nee Varvarigos) and her daughter Leah at a formal function, most likely an Ithacan ball, which was an annual event on the club's social calendar. A black and white photograph with a white border of two ladies in evening dress standing in front of a double doorway.

The Karametos family at the Year 12 Awards function at Ithaca House. Standing at the back from L-R: Anna Maria Megalogenis, Barbara and Jason Karametos and Ioakeim Megalogenis. Seated in the front from L-R: Stavros and Froso Karametos, and Eleni and George Karametos.Since its inception the Ithacan Philanthropic Society has held many functions throughout each year, some with a philanthropic purpose while others have been social functions. These events have given the members a sense of belonging and keep family and friendship groups together.A coloured photograph of a family group of three generations. There are four men and four women in the group. Two men and two ladies are seated in the front and the others are standing behind them.

The term 'seat squabs' is no longer commonly used, but is sometimes referred to in the upholstery and motor vehicle industries. Squabs are padded cushions frequently added to wooden chairs or benches to add comfort to their hard forms. They have been made to an 18th-to-19th-century pattern using beautiful, richly coloured satin fabric and fancy cord tassels. The weighted flap at the rear of the squabs helps to keep them in place on the chair, and could be used on the top of the backrest instead of on the seat. These days, squabs are attached with fabric ties or hook-and-loop tabs. These seat squabs were once used in the St Nicholas Seamen's Church at 139 Nelson Place, Williamstown, Victoria, which was purchased and furnished around 1943. The furniture and furnishings are now part of the St. Nicholas Seamen's Church collection. DETAILED HISTORY of the Missions to Seamen: - The Missions to Seamen is an Anglican (Church of England) charity that has served the world’s seafarers since 1856. It was inspired by the work of Rev. John Ashley, who, 20 years earlier, had pioneered a ministry to seafarers in the Bristol Channel in Great Britain. When Ashley retired, others continued the work, founding the Missions to Seamen. It adopted a Flying Angel as its symbol, inspired by a verse from the Bible in Revelation 14. Today, over 200 world ports have Missions to Seamen centres and chaplains. A Missions to Seamen’s club warmly welcomes sailors of all colours, creeds and races and provides a wide range of facilities. The Missions to Seamen organisation changed its name to the Mission to Seafarers in 2000, continuing to include Missions to Seamen clubs in Victoria’s cities of Melbourne, Portland, Geelong and Hastings. Flagstaff Hill’s St Nicholas’ Seamen’s Church is named after its namesake from Williamstown, Victoria, which began in 1857. Bishop Perry opened the first Sailors’ Church, which was known as ‘Bethel’, on an old hulk floating in Hobson’s Bay, Port of Melbourne. In 1860, a Sailors’ Rest started operating from rented premises in Williamstown. In 1878, the Sailors’ Church moved into an old Wesleyan chapel in Ann Street. By the end of that year, they managed to purchase the building, which they had already refurbished. In 1883, they affiliated with the Victorian Seamen’s Mission. A few years later, in 1906, the building had to be demolished because it was no longer safe. While they raised funds for a new building, the Sailors’ Rest temporarily moved to premises in front of Customs House in Nelson Place. Around this time, in 1906, the Ladies Harbour Lights Guild was formed in Australia to support and raise funds for the Mission to Seamen organisation in Melbourne. Two of the most significant ladies of the Guild were founding members Ethel Godfrey and Alice Sibthorpe. During the Mission's time at Siddeley Street, Melbourne, the activities of the Guild raised funds for the Mission to Seamen's Chapel at their new, and still current, premises in Flinders Street, Melbourne, opened in 1917. The Guild continued its important work until the 1960s. In 1908, the Williamstown Mission had enough money to purchase the former Mascotte skating rink on Thompson Street, Williamstown. In August of that year, they were inaugurated into the Victorian Missions to Seamen. They continued at that venue for a few decades. In 1943, the former ES&A Bank building at 139 Nelson Place, Williamstown, was purchased for the new Mission to Seaman’s Club. The official opening was on May 6th, 1944. It was described as a ‘distinctive little building’. Funds had previously been raised for the building and furnishing of the chapel at the rear. The chapel was named St Nicholas’ Seamen’s Church, after St Nicholas, fourth-century bishop and patron saint of sailors. Services were held on Wednesdays and Sundays. The church was supported by the Williamstown Lightkeepers’ Auxiliary, newly founded by Mrs Ethel Margaret Musther in 1943, as well as the Harbour Lights Guild and the League of Soldiers’ and Sailors’ Friends. The Williamstown Mission to Seamen’s Church operated until 1966, when large international ships no longer used the Port of Williamstown. The Commonwealth Government then leased the premises. In the formative years of Flagstaff Hill Maritime Village, the Advisory Board decided to include a Missions to Seamen Chapel and Recreation Room in its village. The Missions organisation was a significant feature of ports during the late 1800s and early 1900s, the period that the Village represents. They often erected Missions to house social and worshipful activities for seamen. Flagstaff Hill’s curator, Mr Ken Marshman, approached the Melbourne Board of Management of Missions to Seamen regarding the Williamstown branch. Consequently, the Board permitted the furnishings of the Williamstown chapel to be transferred to Flagstaff Hill Maritime Village. A provision of the transfer was that the Victoria Missions to Seamen be recognised, that the items would remain as a collection, and that the chapel would be called St Nicholas Seamen’s Church and conduct Divine services. The donation was approved on 21st May 1979. Flagstaff Hill's St. Nicholas Seamen's Church: - The idea behind Flagstaff Hill’s Missions to Seamen’s Church was partly driven by the offer of Stained Glass Memorial Windows that originated from the Warrnambool and District Base Hospital, which was undergoing multi-storey expansion in the late 1960s and early 1970s. The hospital’s Manager/Secretary was eager to see the historic window installed in a suitable place. The church, or chapel, was designed by a local architectural draftsman in collaboration with the Flagstaff Hill Planning Board and was constructed by Mr Leon Habel. The designers hoped the church would be used for formal worship, such as weddings, funerals, and multi-denominational special services like war commemorations. Its design was inspired by the ‘Missions to Seamen’ buildings in Portland and the Port of Melbourne. The furniture and furnishings were placed as accurately as possible according to photographs of the Williamstown St Nicholas Seamen’s Church and with assistance from local clergy. The Recreation Room was furnished and arranged on advice from experienced members of the Missions to Seamen organisation. A framed document in the building recognises the donor of the furnishings, Victoria Missions to Seamen, and includes the names of some original donors and their donated item/s. The building’s design incorporates local features such as Warrnambool sandstone, which was no longer commercially available but was procured from demolished buildings and uniformly cut to use as a veneer over the stronger Mt. Gambier stone. Also, traditional green American roofing slate was used, sourced from the 1908 local shipwreck “Falls of Halladale” by Flagstaff Hill volunteer divers. The bell tower includes a bell believed to be from a local shipwreck. Additional furnishings were acquired locally, and several items were donated by Warrnambool residents. Light fittings in both rooms were assembled to simulate 19th-century gas light fittings. The stained-glass window at the back of the church is a memorial to Dr Connell, a well-respected member of the Warrnambool community. It was originally installed in 1928 in the main building of Warrnambool Hospital. The St Nicholas’ Seamen’s Church at Flagstaff Hill was officially opened by His Worship the Mayor, Cr. John Lindsay, on Sunday, 11th October 1981. The event included a service of thanksgiving conducted by the Warrnambool Ministers Fraternal. Since then, the Chapel has been the historic venue for many weddings. This pair of seat squabs is historically significant for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for seafarers’ physical, social, and spiritual needs. The organisation originated in Bristol, England, when a Seamen's Mission was formed in 1837. The squabs are also significant for their use in the St Nicholas Missions to Seamen's chapel, Williamstown, as the original building is now listed on the Victorian Heritage Register. Squabs or padded seat cushions, a pair of two. These 18th to 19th-century design squabs have crimson and cream satin fabric on top and underneath, and weighted tassels are attached to their rear corners. They can be used for comfort on hard seats and benches. The squabs were furnishings from the Missions to Seamen chapel in Williamstown, and they are now part of the St Nicholas Seamen's Church Collection.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, st nicholas mission to seamen's church williamstown, mission to seamen williamstown, mission to seamen victoria, st nicholas mission to seamen, st nicholas seamen's church, religion, religious service, sailor's rest, ladies harbour light guild, squab, seat covers, cushions, squabs, religious furnishing, padded seats, seating, accessory

Jacana Primary School was established in 1959 during a period of rapid suburban expansion in Melbourne’s northern corridor. Located in the suburb of Jacana, the school was part of a broader post-war effort to provide accessible public education to growing communities shaped by migration, industrial development, and housing initiatives. Throughout its operation, Jacana Primary reflected the evolving social fabric of the area. By the 1990s, the school had become a microcosm of Melbourne’s increasing cultural diversity, welcoming students from a wide range of ethnic and socio-economic backgrounds. This diversity was not only embraced but actively celebrated through inclusive teaching practices, multicultural events, and student leadership programs such as the junior student council. The 1997 photograph captures a moment in this dynamic environment, showcasing both staff and students engaged in a shared educational mission. It represents a time when schools were not only places of learning but also key sites of community building, civic engagement, and social support. Jacana Primary closed in the early 2000s as part of broader changes in educational policy and demographic shifts. However, its legacy lives on through archival materials like this photograph, which offer valuable insights into the role of public schools in shaping community identity and fostering social cohesion during a transformative period in Melbourne’s suburban history. This 1997 photograph of staff and students at Jacana Primary School marks a poignant moment in the history of a community-centred educational institution that served Melbourne’s northern suburbs from 1959 until its closure in the early 2000s. More than a conventional group portrait, the image stands as a historical artifact that encapsulates the spirit and values of a school deeply embedded in its local community. Jacana Primary School was distinguished by its commitment to educational equity, inclusivity, and a strong sense of belonging—principles that were actively lived and practiced within its classrooms and broader school culture. The photograph offers insight into the educational ethos and staff dynamics of the time, while also reflecting the broader social and cultural shifts occurring in suburban Melbourne at the close of the 20th century. As part of the school’s visual archive, this image contributes to a richer understanding of how public education shaped community identity, supported diverse student populations, and left a lasting legacy in the lives of generations of children and families.A colour photograph mounted on white card with a black border, is laminated. Back: (Blue Label Top) (Right Corner): PH -2157, Front: (Bottom Left Corner): Fotek School Portraitsjacana primary school, education, photograph, group photograph, 1997

This majestic peacock embodies the technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897) and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians loved majolica, and the large peacock would have been the ultimate home accessory as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became a famous pottery and porcelain manufacturer. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best-known work. Comolera kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today, some historians now believe that twelve were fired at the Minton factory; research is ongoing. These peacocks were so admired that Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, ensuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics and tiles, and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares, including the peacock, at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria, in calm foggy weather in June 1878 on the final leg of the ship's journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case, onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with a Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods, including this peacoc,k back into the sea. The two men found the peacock in its case ‘bobbing along in the water’ and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue, the head had broken from the body. This account was proven to be true in 1988, following the birds' display in Brisbane. This peacock began its life in Australia, not in the grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton & Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home at Malvern for many years and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Miss Florence Miller tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell her Loch Ard relic, it was displayed in the window of the old Argus newspaper office, which was at 76 Collins Street, Melbourne; the Argus had relocated to the corner of Elizabeth and La Trobe Streets in 1926. Between 1935 and 1939, the old Argus building was occupied by the Joshua N. McClelland Print Room, which sold not only paintings and prints but also antiques and authentic replicas, as well as hosting exhibitions. Miss Florence Miller loaned her peacock for display at the Victorian Historical Exhibition held in the National Gallery on 1st June 1935, the 57th anniversary of the Loch Ard wreck. As a result, the peacock attracted public attention in books, newspapers and magazine articles that told the story of its survival from a shipwreck. Miss Florence Miller was keen to sell the peacock, even writing overseas to Captain Blain on November 30th, 1938, about the possibility of a sale, but this became no longer possible due to the outbreak of war. Recent information points to the Loch Ard peacock being owned by John S R Heath before its sale to Frank Ridley-Lee in May 1941. Research is ongoing, but it seems likely that John Samuel Robert Heath, a leading Melbourne dentist with a practice in Collins Street, and his wife, a dental mechanic, had purchased Miss Miller’s Loch Ard peacock before its sale in 1941. They were lovers of fine arts, music, wine and food. The peacock in the window of the old Argus building could have attracted their attention as they had already purchased the old stone Presbyterian Church on Warrigal Road, Oakleigh, in 1933 and had converted its interior. The home, renamed The Studio, even included Melbourne’s first all-electric kitchen. The peacock was perfect for display in the Studio’s entrance. A magazine article published after the conversion was completed included photographs of the interior. The picture of the ‘portico’ had a caption below that stated, “Some of her [Mrs Heath’s] finest pottery was salvaged from the Loch Ard Wreck”. In 2025, Heath’s two remaining sons remember running around in the entrance with the peacock standing there, oblivious to its value. Heath was an accomplished artist, studying under Max Meldrum. He painted and exhibited his works at The Studio and in a public exhibition, and he was a finalist eight times in the coveted Archibald Prize portrait competition, including the submission of his self-portrait that is now part of his grandson’s collection. The next owner of the Loch Ard Peacock was Frank Ridley-Lee. He displayed it at his home in Ivanhoe after buying it at an auction in May 1941. The peacock remained in the hands of the Ridley-Lee family until it was offered for sale by auction in 1975 as part of an art collection belonging to Mrs Ridley-Lee's estate. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to collect the necessary money through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half the cost. On 9 September 1975, the Loch Ard peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since then, it has only left Warrnambool twice. Firstly, in 1980, at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton Majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire, john samuel robert heath, peacock statue, loch ard peacock, majorca peacock

This photograph, likely taken during Jacana Primary School’s 1990 Christmas picnic at Greenvale Reservoir, captures a dynamic moment of childhood play and joy. A group of children is seen mid-jump in a grassy park surrounded by tall trees, their movement and energy reflecting the carefree spirit of the occasion. The image offers a vivid snapshot of outdoor recreational activities that were central to the school’s end-of-year celebrations. Jacana Primary School, established in 1959 and closed in the early 2000s, was a vital institution in Melbourne’s northern suburbs. Known for its strong emphasis on both academic and social development, the school fostered a culture of inclusivity and community engagement. Events like the annual Christmas picnic were more than festive gatherings—they were opportunities for students, staff, and families to connect, celebrate, and reinforce the school’s values in a relaxed, natural setting. This photograph is historically significant as it documents the lived experiences of students during a period when outdoor play and communal events were integral to primary education. It reflects broader educational practices of the time, where physical activity, social interaction, and connection to nature were seen as essential components of a well-rounded schooling experience.This photograph is a culturally and historically significant record of Jacana Primary School’s community life in the late 20th century. Captured during the 1990 Christmas picnic—likely held at Greenvale Reservoir—it depicts a group of children mid-jump in a moment of spontaneous outdoor play. The image embodies the spirit of joy, freedom, and social connection that characterised the school’s end-of-year celebrations. Jacana Primary School, which operated from 1959 until the early 2000s, was a cornerstone of Melbourne’s northern suburbs, known for its commitment to inclusive education and community engagement. Events such as the annual picnic were integral to the school’s ethos, reinforcing bonds between students, staff, and families in informal, nature-based settings. The photograph is significant not only as a visual document of a specific event but also as a broader representation of educational values of the time—emphasising physical activity, social development, and the importance of shared experiences. It contributes to the historical narrative of public schooling in Victoria and preserves the memory of a school community that played a formative role in the lives of many local families.Colour Photograph on glossy paper in landscape formatPH18289 (crossed out) PH-4209 (crossed out) PH-4868/this paper/manufactured/by Kodakjacana primary school, christmas party, 1990, jacana

The two young women pictured at a Grecian Ball are Dimitra (Toula) Kandilotis (nee Makris) and Eutichia Drakopoulos (nee Vlassopoulos, Kioukiouris).During the 1940s through to the 1960s Grecian balls were organised by the Greek Orthodox Community of Melbourne. The Ithacan Philanthropic Society also conducted annual balls, the first being held in April 1918. The balls were were a much anticipated social event. Debutantes were also presented at the both the Grecian and Ithacan balls, very much a tradition adopted from Melbourne's Anglo-Australian society. A black and white photograph of a head and shoulders view of two young women in evening dress. They both have flowers in their hair.

This photograph was taken during the 1990 Jacana Primary School Christmas picnic, believed to be held at Greenvale Reservoir, a popular recreational area in Melbourne’s northern suburbs. The image features two adults—most likely members of the teaching staff—posing together in a relaxed and festive setting. This photograph, taken during the 1990 Jacana Primary School Christmas picnic believed to be held at Greenvale Reservoir, depicts two adults—most likely members of the teaching staff—posing for a casual portrait amidst the festive outdoor gathering. The image offers valuable insight into the social and professional culture of the school during this period. Jacana Primary School, established in 1959 in Melbourne’s northern suburbs, was a community-focused institution that emphasised both academic development and social cohesion. The annual Christmas picnic was a key event in the school calendar, providing an opportunity for students, staff, and families to celebrate the end of the school year in a relaxed, natural setting. The presence of staff members in the photograph highlights the important role teachers played not only as educators but also as community leaders and role models. Their participation in such events reflects the school’s commitment to fostering strong relationships between staff and students. Photograph on glossy paper of two adults in the park.PH18289 (crossed out) PH-4209 (crossed out) PH-4868jacana primary school, christmas party, 1990, jacana

This photograph, taken during Jacana Primary School’s 1990 Christmas picnic—believed to have been held at Greenvale Reservoir, a well-loved recreational spot in Melbourne’s northern suburbs—captures a relaxed and festive moment. It features two adults, likely members of the teaching staff, posing together in a cheerful outdoor setting, reflecting the school’s tradition of fostering community spirit and celebrating the end of the school year with informal gatherings.This photograph, taken during Jacana Primary School’s 1990 Christmas picnic—likely held at Greenvale Reservoir, a popular recreational site in Melbourne’s northern suburbs—captures a casual portrait of two adults, presumed to be members of the teaching staff, enjoying the festive outdoor gathering. The image offers a glimpse into the school’s social and professional culture at the time, highlighting the informal, community-oriented atmosphere that characterised end-of-year celebrations. Established in 1959, Jacana Primary School was a cornerstone of the local community until its closure in the early 2000s, known for its emphasis on both academic achievement and social cohesion. Events like the annual Christmas picnic played a key role in strengthening relationships among students, staff, and families, fostering a sense of belonging and shared celebration. The presence of staff members in this relaxed setting underscores their role not only as educators but also as active participants in the school’s broader community life. Their engagement in such events reflects the school’s commitment to nurturing strong, supportive connections between teachers and students, reinforcing the values of inclusivity and community spirit.Colour Photograph on glossy paper in landscape formatPH18289 (crossed out) PH-4209 (crossed out) PH-4868/this paper/manufactured/by Kodakjacana primary school, christmas party, 1990, jacana

Gertrude Perry was born in California Gully in 1917. Her singing skills were recognized at an early age. She later sang with local choirs and sang on radio. She was involved with the Bendigo Operatic Society for many years. Gertrude began her working life in sales. After studying book keeping she worked at the Bendigo Ordnance Factory during WW2 and then worked for local solicitors and accountants. Gertrude was involved with many community and sporting organizations.Invitation to Miss G Perry from Bendigo City Lodge No 714 to attend a Ladies' Social Evening on Friday June 27th, 1952, at 7:45. Reception at 7:45 sharp, supper at 10:00 p.m. Harmony, Dancing and Euchre. Invitation from The Worshipful Master, Wor. Bro. L. M. Green. Unusual invitation to a single lady to a Lodge event with the invite expressly has Bro. and Lady crossed out. Gilt edged invite on pale green card. Unusual invitation to a single lady to a Lodge event with the invite expressly has Bro. and Lady crossed out. Gertrude Perry Collection.physical culture class, fitness, exercise

A few Alfred nurses who trained in the 1880's and 1890's presented this bell, on August 3, 1931, to the Alfred Hospital Nurses League. List of names Emma F. Rice (Graduated 1888) E.M. Farie-Wright (1888), J.May (1891), Rosa J.M.Snodgrass (1897), Florence B.Lloyd-Wilson (1891) Agnes Dale-Smith (1891) Annie Russell (1889) Annie E.H.Thomson (1892)The Nurses League was founded in 1918 for 'nurses to socialize and exchange ideas'. The League was very active and the social events notoriously noisy. The bell was presented in 1931 with a note, 'hoping it will be useful and also to show warm appreciation of our very pleasant Reunions from a few of the Trainees of the Eighties and Nineties'. The thought was to help bring the gatherings to order long enough to make announcements. It has been used extensively for this purpose over the years and most recently, at the League's centenary lunch in 2018.A small, engraved electroplated nickel silver metal bell. A double rim around the base and leaf shaped handle with graded spaces along the length of the handle.'Presented to the Alfred Hospital Nurses League from a Few Trainees of the Eighties & Nineties.' engraved on front of body of bell. EPNS at top of back of handlehand bell, alfred nurses hospital league

The ceramic pieces are two of five porcelain fragments washed up from the Loch Ard wreck near Port Campbell, Victoria. These fragments resemble the foot and leg of a large bird, and legend has it that another bird had drifted ashore at the same time as the Loch Ard peacock. This figurine is displayed at Flagstaff Hill Maritime Museum and regarded as the most valuable shipwreck relic. It is believed that all five fragments could belong to another peacock or a Minton porcelain stock that had been photographed in a Home Beautiful magazine in 1928. This stork appeared to be missing a leg and foot, and experts have hypothesised that the fragments could belong to this stork, the whereabouts of which are currently unknown. History of the Loch Ard: The Loch Ard got its name from ”Loch Ard”, a loch which lies to the west of Aberfoyle, and to the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line, which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog, which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am, the fog lifted, and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp, and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold their position. The anchors sank some 50 fathoms - but did not hold. By this time, the ship was among the breakers, and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship, and the top deck became loose from the hull. The masts and rigging came crashing down, knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then, on the flood tide, came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave for shelter. Some of the crew stayed below deck to shelter from the falling rigging, but drowned when the ship slipped off the reef into deeper water. Eva Carmichael, a passenger, had raced onto the deck to find out what was happening, only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved, Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open the case of brandy, which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later, Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station, three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged, and some items washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck, it has now become Australia's most valuable shipwreck artifact and is one of the very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Glazed ceramic fragments; the two fragments fit together. They appear to be a leg section with foliage.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ceramic, porcelain, piece, fragment, ceramic bird, loch ard, shipwreck, salvage, recover, 1877, 1878, minton, shard

History of the Loch Ard: The Loch Ard got its name from ”Loch Ard” a loch which lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition in. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Pewter teapot, recovered from the wreck of the Loch Ard. It has four legs; one is bent upwards. The metal is sometimes referred to as 'Britannia Metal'. The surface is encrusted, and the metal is broken in places.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, pewter teapot, britannia metal teapot, teapot

The ceramic piece is one of five porcelain fragments washed up from the Loch Ard wreck near Port Campbell, Victoria. These shards resemble the foot and leg of a large bird, and legend has it that another bird had drifted ashore at the same time as the Loch Ard peacock. This figurine is on display at Flagstaff Hill Maritime Museum and regarded as the most valuable shipwreck relic. It is believed that all five fragments could belong to another peacock or a Minton porcelain stork that had been photographed in a Home Beautiful magazine in 1928. This stork appeared to be missing a leg and foot, and experts have hypothesised that the five fragments could belong to this stork, the whereabouts of which are currently unknown. History of the Loch Ard: The Loch Ard got its name from ”Loch Ard” a loch which lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition in. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history.Ceramic shard, broken piece of pottery with some diagonally carved features. It is possibly a peacock leg section and green foliage. The ceramic piece has remnants of a coloured glaze.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ceramic, porcelain, piece, fragment, ceramic bird, loch ard, shipwreck, salvage, recover, 1877, 1878, minton, shard