'Bendigo Advertiser, Monday 18th May 1863, p2: ' On the occasion of the first anniversary of Court Sherwood of the Ancient Order of Foresters, a ball was given by the members at the Sir Henry Barkly Hotel, Huntly on Thursday night last. There must have been at least 70 or 80 persons present, many of them from Sandhurst, White Hills, Eaglehawk and etc. Dancing commenced at nine o'clock and was vigorously kept up till the early dawn of another day came to light. Supper was served in the Court Room and the excellent repast provided by the host was duly appreciated .... from casual observation appearances would indicate that on a future day the Foresters would create a Court into which the ladies would be permitted to join in the bonds of fellowship.' Bendigo Advertiser, Thursday 2nd November 1865, p 2: 'The fourth anniversary of the establishment of Court Bendigo of the above order was celebrated on Tuesday evening at the Bendigo Hotel by a supper. There were between forty and fifty members present. The Secretary, in the course of his remarks, referred to the progress which the court had made since its establishment in October 1861. He stated that the court opened with 35 members and now numbered about 200. He congratulated the Court on having more members than any other court of the order in the district. Since it was established there had only occurred one death and at present there was only one sick member declared as receiving aid from the funds. District Secretary Holl, in responding to the toast of prosperity at the Bendigo United District of the Ancient Order of Foresters, stated that the district was first formed in 1862. At the end of the first quarter of 1862, there were eight Courts numbering 479 members. At the end of the last quarter there were twelve Courts, numbering 1278 financial members. The funds of the district in July 1862 amounted to £22/2/2d and in October 1865, the amount had increased to £570/2/8d while the Court funds amounted to £3,330/18/9d. During the last twelve months £893/8/10d had been paid for the benefit of the sick, thus showing the great benefits which were derived by becoming members of the order. Note dated 7 Oct. 1863, Court King of the Forest for P. C. R. Silk Sash £1/1/-. Signed by Jas. Thos. Holl.societies, correspondence, ancient order of foresters no. 3770 collection - note, court king of the forest, jas thos holl

BHS Collection12 photocopied pages. Page four has acknowledgements, Page five mentions Pen-Portraist by Raly Wallace and Kevin Vallence, Page 14 mentions some rich areas: White Hills, Red Hill (now Virginia Hill), Eaglehawk, Golden Gully, New Chum Gully, Long Gully, Spring Gully, Derwent Gully, California Gully, Sailors Gully and Peg Leg Gully. There are two sketches on the page: Windless, by W. Ralston, Australasian Sketcher 20/12/1879 (D O'Hoy Collection) and a sketch of some miners in a tent with some mining equipment in front of it. There are two men in front of a fire at the front of the tent. Page 16 has a sketch of an old brick house with iron lace on the veranda and a picket fence at the front. Page 17 mentions the school and some Friendly Societies and Church. Page 22 mentions Quartz Mining. There is a Lithograph of a Quartz outcrop, New Chum Gully 1852 by George Rowe and a View of Surface Workings 1861, a Batchelder Photo. Page 23 mentions Edward Nucella Emmett, a pioneer gold digger who became involved in many important public issues. Page 25 mentions Company Mining and Crushing. It has a sketch of a Primitive Quart Crusher. Page 37 Mentions Richard Pope, a Miner who tramped from job to job in Bendigo and eventually followed the rush to Broken Hill. Page 38 mentions the Eaglehawk Brass Band and Friendly Societies in Eaglehawk. Page 39 is headed Miner's Cottage. It mentions stone miners' cottages. Page 40 has a sketch of a Georgian Style Sandstone Cottage Harvey Town. Page 41 mentions men sweeping the road to get gold, Bull Family grocery shop and a blacksmith. Page 42 is headed St. Augustine's. Page 43 has a sketch of St. Augustine's Church. Page 59 is headed Bendigo Amalgamated Goldfields (B.A.G.) Edward Clarence Dyason was largely behind a new company set up in 1917 to work the Bendigo field in an entirely new way. (B.A.G.) wished to take over all existing mining companies, and place them under a single management structure.bendigo, history, long gully history group, the long gully history group - some historical information, mr l hooley, mr l bennetts, mr w watson, mr w heraud, mr d m davies, mr w perry, mr h harvey, mr a llewellyn, mr e oates, chook temple by mr alan llewellyn, mr f cusack, tracey ipsen, ray wallace, bendigo field naturalists' club, eaglehawk tree lovers' society, bendigo historical society, university of melbourne, kevin vallence, monash university, bendigo technical college, south australian writer's fellowship, windlass, w ralston, australasian sketcher 20.12.1879, d o'hoy, mechanics institute, california gully school, bell topper hill, i.o.r. (rechabites), cobden tent, refuge tent, sutton tent, m.u.i.o.o.f.'s loyal darling, bible christian church, california hill wesleyan methodist church, saint jude's anglican church, quartz mining, e n emmett, jonathan harris, haris' claim, j hustler, george rowe, batchelder, la trobe library, cave, amos, new chum line of reef, edward nucella emmett, bendigo city council, all saints, william westgarth, latham and watson, hustler's line of reef, bell and irons, ballerstedt and son, young and company, nicholas and bassit, ensor, thomas carpenter, quartz crusher, goldfields and mineral districts of victoria, richard pope, daniel webster mine, isaac dyason, old chum mine, north old chum mine, young chum mine, george lansell, lazarus, silicosis of the lungs, eaglehawk brass band, victoria hotel, mr williams, eaglehawk branch of the australian natives association, loyal catherine lodge, mr james, odd fellows in the loyal catherine lodge branch no 4935, richard harvey, thomas harvey, moonta copper mines, harvey town, national trust of australia, eaglehawk tree lovers society, saint mungo's methodist church, clark's beehive battery, world war 1, kee-young, lady barkly hotel, prankhurst, bull family, cousin jack, st augustine's, myers, nicholls, john o'brien, around the boree log, the rev dean hayes, st kilian's, bendigo amalgamated goldfields (b.a.g.), edward clarence dyason, r h s abbott, hercules and energetic, south new moon, new chum goldfields, central red white and blue consolidated, brown john, the life and times of long gully, bendigo press, val white, megan snoop

The discovery of gold in Smyth's Creek in 1854 and subsequent gold rush to the Caledonia diggings led to the establishment of Queenstown (present day St Andrews). The first recorded burial was July 31st, 1861 and it was officially declared a Cemetery Reserve in 1866. Many graves are unmarked and unrecorded including many Chinese and other itinerant miners. The cemetery was closed for new burials in 1851. The last recorded burial was in 1981 in an existing family grave. In Loving memory of David Band Died 30th Decr. 1862, aged 51 years. John Cork Knell Died 11th April 1867, aged 42 years. Eliza Smith Died 20th Jany. 1874, aged 3 1/2 years. William Band Died 20th Feby. 1883, aged 51 years. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p73 The discovery of gold at Smyth’s Creek* in 1854 brought 3000 people to the area in search of their fortunes.1 However in the harsh conditions many miners and their families died young, and were buried in unmarked graves. Their stories died with them but by 1861, the first burial was recorded at the Queenstown Cemetery – that of William Dalrymple aged 65 – although the cemetery was only officially declared a reserve in 1866. Even before this in 1856, a double burial had been recorded for the twin baby daughters of George Harrison at Market Square, the miners’ settlement – presumably where the cemetery is today. In 1951 the Queenstown Cemetery at 70 Smiths Gully Road, Smiths Gully, closed for burials. However the last burial in a family plot, that of Grace Evelyn Smith, occurred in 1981. Today only 55 headstones remain, but more than 380 burials are recorded. Remnant bushland dominates the cemetery where many graves are merely mounds and others have been damaged by vandalism and the neglect of time. Bushfire in 1962 destroyed the picket fencing, grave markers and cypress boundary planted in the early 1900s. The box/stringybark woodland in the 1.7 hectare Cemetery Reserve is regrowth from then and the indigenous and heritage vegetation is protected. Thanks to the volunteer Cemetery Trust and Friends & Relations of Queenstown Cemetery, the cemetery is maintained, stories recorded and the burial index corrected and expanded.2 Close by the cemetery on the site of today’s Peter Franke Picnic and Nature Reserve stood Market Square, the Caledonia Diggings village of tents and stores, the forerunner of Queenstown, now St Andrews. Many of the Caledonia Diggings miners were Chinese, many of whom, with itinerant prospectors, were buried in unmarked graves. Histories are being recorded of other immigrants, mainly English and German, who settled after the gold rush, some of whose descendants fought and died in the two world wars. Names on many headstones are also recorded on the district’s roads, reserves and war memorials such as Motschall, Joyce, Howard and Coutie. The oldest surviving tombstone is that of Scot, David Band who died in 1862 at 51 years. His oldest daughter Elizabeth, with husband John Knell, owned the Queenstown Hotel and the post office. Child-rearing in a colonial gold town was often tragically difficult, as demonstrated in the first 20 years, when 41% of the 34 burials recorded were children. Settlers endured harsh conditions graphically illustrated with the deaths of Annie Joyce at 30 years and of her family. Annie was married to gold miner Walter Joyce. Their third child Walter, born in 1886, died in March 1887. Eight months later Annie died of breast cancer. Walter died in 1909, aged 53, of miner’s phthisic caused by stone dust destroying his lungs. It was so hard to make a living that burials were usually held from 2.30 pm to allow mourners to work a day before paying their last respects.3 Most burials before 1890 were recorded as Anglicans, as the only church on the Caledonia Diggings was the Church of St Andrew, until 1897, when the Primitive Methodist Church came to Panton Hill. Generally miners came to better themselves, but some, like Grace Hopkinson (nee Milward), born in England in 1828, came from a well-off and educated family. According to family legend Grace emigrated with husband William, to live in a tent, but had kept her personally embossed sterling silver cutlery service. Amid the tough environment were some successes like that reported in The Evelyn Observer April/May 1901 of miner William Hopkinson who was buried at the cemetery in 1912 aged 81. The Observer stated that Hopkinson ‘recently dropped across another find in his claim at One Tree Hill’. The lump of gold found this time weighed more than half a kilo. Mr Hopkinson referred to it as ‘another little speck’. *Today’s Smiths GullyThis collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, david band, eliza smith, gravestones, john cork knell, queenstown cemetery, smiths gully road, st andrews, william band

Hollis Brothers were first recorded trading from 11 Weaman Row in 1840 but appear to have started trading a little earlier. The firm later became Isaac Hollis & Sons and claimed establishment from 1814. Richard & William Hollis were recorded trading in Bath Street Birmingham from 1814 to 1818 so it may be that the Hollis brothers were descended from them. The brothers were Isaac Hollis (1815) and Frederick Hollis (birth date unknown), but Frederick died 20 December 1839. Isaac was recorded in the 1841 census living in Weaman Row. He was a 25-year-old gun and pistol maker, married to Emma 1821. They had two children, Isaac (1837), and Henry (1839). After Frederick died, Isaac carried on trading under the name of Hollis Brothers until 1845 when he re-named the business Hollis Brothers & Co who traded up to 1848. In 1844 Isaac entered into a short term partnership with William Tranter at 10 & 11 Weaman Row, presumably to complete a particular contract or supply certain parts, this partnership lasted until 1849. In 1848 Isaac took in Isaac Brentnall Sheath as a partner, and the firm of Hollis & Sheath was established, expanding into 10 Weaman Row. Hollis & Sheath were licensed makers of percussion breech-loading guns. in 1861 the firm changed its name to Isaac Hollis & Sons on the departure of Isaac Brentnall Sheath. Isaac Sheath died in July 1875 By about 1870 Isaac Hollis and Henry Hollis had taken over the day to day running of the business. Isaac Hollis was responsible for the overall management and the marketing of the firm's products. Henry was responsible for manufacturing. The firm became volume producers of inexpensive trade guns and sporting guns for the South African and the British colonies. In 1870 the firm opened a shop at 44a Cannon Street in London; in 1871 this moved to 83 Cheapside. Isaac Hollis Jnr died October 1875 in Birmingham aged 37. He was never married and in 1876/1877 Henry registered a limited liability company, Isaac Hollis & Sons Ltd, but by 1879 they were again trading as Isaac Hollis & Sons. From 1879 the London shop was at 6 Great Winchester Street. From 1932 to 1933 the London business traded as Hollis, Bentley & Playfair Hollis, Bentley & Playfair finally closed in Birmingham in 1953.The shotgun is not in pristine condition and is not very significant historically or valuable, although made by a well known and respected manufacturer of firearms there are many better examples of Issac Hollis and Sons shotguns in collections and for sale. This particular example is of a standard pattern for utilitarian use of which many were made.Shotgun, double barrel, 12 gauge, with cleaning rod. Right barrel has been cut shorter and has sharp edges on the muzzle. Metal stock extension, cleaning rod comprising 3 pieces that screw together. Gun is stored in a black painted, wooden case with hinged lid. Inscribed "I. HOLLIS & SONS", SN 84245. "I. HOLLIS & SONS". SN on stock “84245”. Badge on both sides “Crown [symbol] / BV”. “Crown [symbol] / NP”, “12G inside Diamond [symbol]”, “NITRO PROOF”, “STEEL 84245” Paper note included with gun, written in felt tip pen “ENTERPRISE”. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shotgun, double barrel shotgun, isaac hollis and son, birmingham, i hollis and sons, gun makers, sporting firearm, south african firearm market, rifles for british government, hollis, bentlely and playfair

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggest they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’ does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six are of the same size from a visual appraisal.The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417A large crucible, or fluxing pot, for heating and pouring molten metal. It was recovered from the wreck of the LOCH ARD. The clay fired vessel rises from circular flat base to a larger rim with pouring lip. It is stained a rust colour and bears some sedimentary accretion. Half of its loose fitting lid with central knob has also survived. Markings on the artefact indicate it is a Morgan’s crucible, made with graphite to prevent cracking in the furnace and provide a smooth (non-adhesive) inner surface. On base: “…RGAN’S PATENT CRUCIBLE”. On rim: “MORGAN’S PATENT P…” Below top edge "BAK"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgans crucible company, loch ard, fluxing pot, crucible

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity and expansion in foundries and demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggest they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. A summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’ does not mention any crucibles, implying that they were not part of a larger consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six are of the same size from a visual appraisal. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417A No. 6 size Morgan’s graphite crucible (i.e. 6kgs capacity). The crucible rises in a slight curve from a smaller flat base up to a wider top with a (chipped) pouring lip. It was recovered from the wreck of the LOCH ARD. The artefact is largely accretion free despite its long period of submersion at the wreck site. It has a number of visible maker’s markings which identify the manufacturer and the smelting capacity of the pot. The graphite crucible is in fair and stable condition. The number “6” which is framed in a square. The letters “THE PATENT PLUMBAGO CRUCIBLE COMPANY” and “BATTERSEA WORKS COMPANY”. Below rim "... GNS"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgan's crucible company, loch ard, crucible, fluxing pot

This brass cow bell was recovered from the wreck of the sailing ship ‘Loch Ard’ at Mutton Bird Island, near Port Campbell, Victoria, from late 1960s to early 1970s. Cow bells were listed as part of the cargo on board the Loch Ard. This bell is now part of the John Chance collection. Flagstaff Hill Maritime Village’s divers also recovered similar bells from the Loch Ard wreck in 1973. One of them was found in a sandy hole in the centre of the wreck site. All of the recovered cow bells are without their hangers. A bell of this size could have been used by horse or cattle teams. Cow bells were a common Colonial item. They were hung around the necks of grazing domestic cows and goats, bullock and horse teams, even camel teams so that they could be found again. Sheep and cattle drovers used them as a warning for night time disturbances such as wild animals. The maker of the cow bell, James Barwell, was a bell founder established in Birmingham, England, from 1784. In 1842 he acquired Fiddian’s firm of ‘Steam and Water’, keeping its name and stamping it on some of his products. According to his advertisement in the Exhibitors guide for the Church Congress of 1887, he made bells and fittings for churches and schools. He also made bells for cloches and chimes, and made tuned musical handbells. He repaired and reproduced bells, and he had a team of experienced ringers to “inspect towers and report upon the tone and condition of bells and fittings.” In 1903 he became incorporated as a Limited Company, ‘engineers’ and plumbers’ brasswork, and bell founders.’ In 1914 he advertised as ‘Cock and Bell Founders’, specialising in plumbing and engineering fittings, church bells, and “every description of hanging and hand bells.” Some of Barwell’s products were stamped with his maker’s mark (his initials J. B. either side of a cross entwined with a ‘B’ in an oval of oak leaves (for Birmingham)). James Barwell bells were no longer made after 1920. James Barwell was among makers who exported bells to the Australian colony from the 1860s. Early Australian iron animal bells were also made from the 1860s by blacksmiths such as Anthony Morgan from 1861, August Menneke from 1867, and Samuel Jones from 1868. Few brass bells were produced here in those times. This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. Its significance is increased by being an artefact recovered by John Chance, a diver from the wreck of the Loch Ard and other wrecks in the late 1960s to early 1970s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The cow bell is also significant for being part of Flagstaff Hill’s collection of artefacts from LOCH ARD, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Cow bell; heavy brass, flat top, pyramid shape, rectangular head, shoulders flare out to rectangular mouth. The head has two same-sized tooled holes for adding the hanging yoke. Inscription on top and one side. Encrustations are on the metal in places. The hanger and clapper are missing. Made by James Barwell of Birmingham.Stamped on the head "BARWELL / - - - / - - -- ING" [Perhaps BARWELL - - - BIRMING. Could size be in centre? 3 3/4 IN?] Stamped on side [motif] (undecipherable) flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, loch ard, mutton bird island, glenample, eva carmichael, tom pearce, james barwell, cow bell, horse bell, bell founder, bell smith, vintage bell, birmingham bell foundry, farmer, shepherd, drover, stock bell

Helen Malvira Mackenzie (1865-1956) married Charles Ansell Smith (c1861-1934). He was baptised 23 April 1861 in Tintinhull, Somerset - son of William Maxwell & Louisa Claudina Smith (nee Ansell). His father was curate of the church at the time. Helen Malvira (or Malvena) MacKenzie, known as Nellie, was the second daughter of the John Mackenzie J.P., of Westernport, and Wilcannia, N.S.W., and great granddaughter of the late Admiral Pasco, R.N. They lived at 'Devon', 3 Vincent Street from at least 1910 but perhaps earlier until 1915. Charles Ansell and Helen Malvina Smith’s children: 1. Kenneth Ansell – b 1892 d 3 May 1977 at Lancefield SERN 819 Enlisted AIF on 17/8/1914 giving his occupation as book seller Assigned to 8th Battalion, G company Enlisted 17 August 1914 Embarked A24 Benalla on 19 October 1914 Returned to Australia on 23 October 1918 Obituary describes him as eldest child of the late Charles Ansell & Helen M Smith of Surrey Hills and Lancefield. 2. Stanley Charles – b 1893 (Carlton) - lived Surrey Hills 3. Dorothy Louisa – b 1894 - 1988 4. Harold Maxwell Pasco – b 1897 Oakleigh SERN 3268 Educated Surrey Hills State School Religion Cof E Occupation: Clerk Served with 48th Infantry CMF, Kooyong Enlisted 23 July 1915 – parents living at Vincent Street at the time Assigned to 24th Battalion, 7th Reinforcement Embarked HMAT A73 Commonwealth on 26 November 1915 KIA 4 October 1917 at Passchendaele, Ypres No known grave. Parents at ‘Cloverdale’, Lancefield 5. Francis W D (Frank) – b 1898 – 1972 Obituary: Frank (FWD) Smith on Feb 14 (suddenly) Francis Wm Douglas Smith, son of Charles Ansell & Helen M (Surrey Hills & Lancefield) and brother of Kenneth (Lancefield), Dorothy (Mrs Cromwell), Harold (KIA) Roy & Stanley. 6. Roy MacKenzie – b 1901 – 1988 m Ruby Olive Laity in 1931 So, the children were all born before the family came to Surrey Hills but Vincent Street was where they grew up. Charles and Helen are buried in Box Hill Cemetery (CE-NS-1266) Comment: An early example of a 'traditional' wedding dress.B&W bridal studio portrait of Mrs Helen Malvira Smith in a traditional wedding dress. weddings, wedding dresses, helen malvira mackenzie, helen malvira smith, kenneth ansell smith, stanley charles smith, dorothy louisa smith, harold maxwell pasco smith

Anlaby’s sheep are born, bred and shorn at their farm located in South Australia. The wool is then scoured at Michels in Adelaide, combed and turned into Tops at Cashmere Connections in Bacchus Marsh, and then Spun and Woven at a historic mill in Scotland named Johnstons of Elgin. Sewing is completed by artisan seamstresses and packaging is from a local Adelaide family business. Established in 1839 just North of the Barossa Valley in South Australia, Anlaby is the oldest continuing merino sheep stud on mainland Australia. Fredrick Dutton employed Alexander Buchannan to bring sheep to the buoyant market in Adelaide from Goulburn NSW. Several others speculated on possible successes, including Buchannan and a flock of 18,000 sheep were walked overland. The trek took nine months. During this time the Adelaide market prices had collapsed. Having found land with a spring of sweet water, Dutton decided to keep his flock of 5,000 stud sheep and purchased a small parcel of land that is now called Anlaby. The property prospered and Buchannan was employed as manager for the next 25 years. At its height Anlaby covered 250sq miles – 160,000 acres and employed 70 men. The first bale of wool from South Australia to be auctioned in London came from Anlaby. The Anlaby stud also provided the foundation ewes for the well-known Bungaree merino stud in 1841. With prosperity came a large house and gardens for Buchannan in 1861. Anlaby was inherited by Henry Dutton from his uncle in 1895. Squire Dutton, as he was known, continued to grow the family’s fortunes and spent his money expanding the grand home and creating a magnificent 10-acre garden. Today the Anlaby merino stud continues and both the house and garden are undergoing significant restorations. Wool continues to be one of the most important elements at Anlaby. It was the source of great wealth in the past and is now directly tied into Anlaby’s future. Anlaby makes beautiful woollen scarves, lady’s wraps, exquisite throws and small range of baby blankets. From the moment a lamb is conceived and through its entire lifecycle Anlaby look after nutrition and quality of life. Twice a year the sheep are shorn and the wool using minimal treatment is washed, combed, spun and woven into the Anlaby product range. This attention to detail results in the buttery softness distinctive of the exclusive woollen range.Throw came with packaging and information card which reads ANLABY in large capital lettering at the top and bottom of either side of card. Throw is white with green edging of 15cm on two edges. Within this edging is the sewing of a tree in white.Wording: ANLABY Pure Anlaby Merino Wool Oldest merino stud on mainland Australia Made in Australia Card. Wording: ANLABY Certificate of Authentication THIS CERTIFICATE AUTHENTICATES THE PRODUCT TO BE 100% AUSTRALIAN AND MADE FROM PURE MERINO WOOL PRODUCED EXCLUSIVELY AT THE ANLABY MERINO STUD IN SOUTH AUSTRALIA THE ANLABY FLOCK (REGISTERED NUMBER 102) IS THE OLDEST CONTINUOSLY OPERATING MERINO STUD IN MAINLAND AUSTRALIA. THE MERINO FLOCK AT ANLABY MAINTAINS A GENETIC LINE STARTED IN 1839 THIS PRODUCT IS PART OF THE LIMMITED EDITION RANGE PRODUCED AT ANLABY. IN 2014 WE CELEBRATED ANLABY’S 175TH ANNIVERSAY ANLABY Reverse. Wording: ANLABY PURE NATURAL WOOL THE SHEEP GRAZE AMONGST THE GUM TREES ON THE ROLLING HILLS OF ANLABY. ANLABY SHEEP ARE CHARACTERISTICALLY BIG BODDIED AND BRED TO FLOURISH IN THE WARM AUSTRALIAN CLIMATE. OUR WOOL IS MINIMALLY TREATED AND THE PRODUCTS ARE MADE IN SMALL RUNS UNDER THE PERSONAL SUPERVISION OF THE OWNERS. WE BELIEVE IN SUSTAINABLE AND RESPONSIBLE FARMING AND MILLING PRACTICES. THE ATTENTION TO DETAIL RESULTS IN THE BUTTERY SOFTNESS DISTINCTIVE OF THIS EXCLUSIVE WOOLLEN PRODUCT. WITH CARE THIS IS A TREASURED ITEM FOR THE NEXT GENERATION. ANLABY www.anlaby.com.auwool, merino sheep, south australia, wool processing, wool processing textile finishing

Folder Contents 1. Pam Thoonan (nee Ingram) 1.1. Family tree of Pamela Thoonan; Descendant of Teagle and Ingram 1.2. Descendants of George Ingram 1747 1.3. Descendants of William Ingram 1836 1.4. Family of William George Grove Ingram 1861 1.5. Family of Evan Thomas Ingram 1867 1.6. Ancestors of Kenneth Douglas Ingram 1.7. Family/descendants of Henry Teagle 1838 1.8. Family of John Thomas Teagle 1.9. Notes on Esau Key 1.10. Descendants of John Key 1687 1.11. Descendants/family of Robert Fielding 1817 1.12. Descendants of Margaret Crenny, died 1946 1.13. My grandpa John Ingram (Written by Grace Burrows) 1.14. Ten in the bed; story of William Ingram family of Birmingham, England 1.15. Copies of newspaper articles about Harry Ingram, Baker of Kidderminster, England 1.16. Copy (2000) In Memory of Lester Neil Ingram, Commonwealth War Graves Commission 1.17. Recollections by Pam Thoonen regarding her stepfather Eddy Fielding and father Kenneth Douglas Ingram including information about the 39th Australian Infantry Battalion (1941-1943) and the Kokoda Track 1.18. Copy of letter to Jack and Ada Ingram from mother P Ingram of Kidderminster – transcript sent to Pam Thoonen by Grace Burrows, 2006 1.19. Letter from Val (Waller nee Feldbauer) to Tom Fielding 30 June 2016 1.20. Notes handwritten believed to be about guests attending Rose Fieldings 62nd birthday at Bentleigh Public Hall, Centre Road, East Bentleigh in 1973 – see photo EDHS_05850 1.21. Copy of photo of Wedding Party of Margaret Rose to Kenneth Douglas Ingram 1935 and newspaper report “Romantic Circle; Ingram – Teagle” The Advertiser 26 July 1935, p2 1.22. Five pages of photocopied photos and recollections by Pam Thoonen of attending a concert at Festival Hall 1.23. Three photos of headstones for John Thomas Teagle and Margaret Teagle, Violet Feldbauer, Edna May and Charles Louis Layfield 1.24. Two pages typed of trivia concerning old expressions and their origins from the 1500s 2. Grace Burrows (nee Ingram – now deceased) contact details at Dunolly with notes that Ingrams arrived at Research around 1900 Item 1 held in digital format onlyFolder of information on Ingram family of Research in mix of digital and hard copy formatgrace ingram, grace burrows, ingram family, pam thoonen (nee ingram), ingram's bakery, research (vic.), john ingram, ingrams road, keith ingram, kenneth ingram, teagle family, crenny, key family, feldbauer family

This image shows six older Chinese men standing in a row with two younger non-Chinese men outside a small wooden business or official building in the Beechworth region, circa 1900. The two non-Chinese men are wearing clothes of the period that indicate relative prosperity (such as three piece suits, top hats, and a pocket handkerchief), whereas most of the Chinese men are wearing Western-style working clothes of the era. One Chinese man at the far right of the image is wearing similar garments to the non-Chinese men, including a bowler hat and longer, more tailored suit jacket. Chinese miners were a significant cultural group in Beechworth's gold rush period. Carole Woods' history of Beechworth, 'A Titan's Field', details that there were approximately 60 Chinese people in the area in 1855, more than 1000 in 1856 and 4700 (a quarter of the population) in 1857, despite the introduction in 1855 of official policies such as additional taxes formulated by the Victorian Government to limit access by Chinese immigrants. Most Chinese miners in the region came from southern China and had formerly worked as merchants, mechanics, farmers and shop-keepers. Chinese people were subjected to a 'protectorate' system, ostensibly to minimise the potential for conflict with other groups; this system required Chinese people to live in designated 'hygienic' camps with paid Chinese headmen who supervised the village and enforced the protectorate's rules. Chinese people were required to purchase an annual protection ticket to fund this system. The protectorate system was abolished in 1861, before this image was taken in approximately 1900, but it may still provide insight into social stratification or relationships between and within cultural groups in Beechworth resulting from such practices. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's cultural and social relationships in the early Twentieth Century, in particular the experiences of Chinese miners. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, chinese, chinese miners, protectorate system, protection licence, immigration, racism, classism, social groups, cultural groups, taxes, hygiene camps

This large, leather bound journal was made for the Public Library and Burke Museum in Beechworth by book manufacturer, William Detmold in 1875. It was commissioned by the President of the Library and Burke Museum committee, Dr Antoine Mousse, for the purpose of cataloguing all the items in the collection. The cataloguer was the curator at that time, William Morton, whose hand-writing appears in the journal today. When William Morton first started recording in this journal in 1875, there were already a number of existing items in the institution. The Public Library and Burke Museum in Beechworth had actually been operating since the 1850s; first as a Young Men’s Association in 1856, then as Beechworth Athenaeum in 1858, then as the Beechworth Public Library in 1860. Then in 1861 when news of the death of Beechworth’s former police superintended, Robert O’Hara Burke, reached the town, it was agreed that the Public Library would also become a museum to tribute his legacy, renaming it as the ‘Public Library and Robert O’Hara Burke Memorial Museum, Beechworth’. Many of the items from the early institutions would have been used to form the nucleus of this new organisation. Plus, the additional items that were either collected or donated to develop it into a museum. The catalogue is extensive. There are exactly 461 pages of recorded items, each page detailing the various collections the museum acquired in the late 19th century. Collections recorded in this catalogue include a large collection of geological specimens, that were given to the museum in 1868 by the Geological Survey Department of Victoria. A large collection of taxidermy mounts, that were given to the museum as skins by the Museum of Australia in 1865. An extensive collection of Aboriginal artefacts that were purchased from amateur anthropologist R. E . Johns in 1868. As well as artworks, charts, photographs, machinery, maps etc., all of which have been held in the museum since. This catalogue also details the governance and management of the organisation. There were originally 30 rules that governed the actions for the management committee and, while anyone could read in the free library, only subscribers could borrow two books and one periodical. At first, subscriptions rates were 7/6 a quarter. This was later changed to £1 per annum, paid quarterly in advance. This was a considerable amount; 7/6 per quarter meant that the annual fee was £1.10. This was equivalent to about £650.00 or about $1,182.00AUD today, while the reduced subscription fee of £1 a year was the equivalent to £450.00 or about $818.00AUD today. Membership of the athenaeum would have been the reserve of the town's notable citizens. The vale of the catalogue lies not only in its historical connect with the establishment of the Athenaeum and the current museum, but also in its record of the names and positions of all members of the institution's committees of management from 1875-1876. This is a unique object that contains important records for a notable country town. Large brown leather bound book made in 1875 for the Beechworth library and museum by William Detmond. Inside is a comprehensive and detailed itemised listing of the paintings, drawings, charts, photographs, specimens and books that entered the institution from 1850 -1882. non-fictionCover: RULES / CATALOGUE OF BOOKS / INVENTORY OF PICTURES, DRAWINGS, / MAPS, CHARTS, FURNITURE, SPECIMENS / OF THE / PUBLIC LIBRARY AND BURKE MUSEUM / BEECHWORTHburke museum, beechworth, catalogue, museum catalogue, 1875, william morton, william detmold, exposition universelle, ferdinand von mueller, public library, collection, book, leather bound, restored, digitised, robert o'hara burke, hand-written

This photograph was captured on an undisclosed date and by an unidentified photographer. It was printed in colour through the company AGFA which is a Belgian-German Multinational Corporation. This business prints, develops, manufactures and distributes digital imaging products, software and systems. It was founded in 1967 and continues to operate today. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town. A pamphlet published by James Ingram and Son (1849) reveal that famous landmarks in Beechworth which included the Post Office, Gaol, Courthouse and Asylum "demonstrate the appreciation of Beechworth by the Government not only as as important district center, but also as a site unrivaled as a sanitarium". There were other locations in contention at the time, but ultimately Beechworth was chosen (Craig 2000, 33). Prior to the creation of the Asylum in Beechworth, those charged with having mental illnesses or, as it was termed, "insanity" were unable to be properly cared for in the Gaol (which is where they were often sent). John Buckley Castieau wrote, in 1861 for the Ovens and Murray Advertiser, that the Gaol was unable to properly care for those classified then as "insane" but that they would endeavor to treat them above the other inmates (which he notes is not always the case in other establishments). Castieau wrote this in favour of supporting the building of the Mayday Hills Hospital in Beechworth. It was stated that at the time the Mayday Hills Hospital was built, there were 83 prisoners kept in the Gaol who were to be rehoused to the Hospital on the grounds of "insanity". The classification as someone as "insane", in this period of time is a reflection on the inability to cure and understand illnesses of the mind during the mid to late 1800s. Opening on the 24th of October 1867, the Mayday Hills Hospital was originally named the "Ovens Lunatic Asylum", a title which is very much a product of its time. Whilst controversial, changes to the name is part of the history of the Hospital and can provide much insight into the understanding of mental illness throughout history and the use/disuse of this term provides information into the reception/changing opinions of mental illness in society. The Hospital would later become known as the "Mayday Hills Asylum" and/or "Mayday Hills Hospital" with the latter being the most commonly used title. An article in the Ovens and Murray Advertiser notes that on the 7th of March 1865, the foundation stone of the Hospital was laid (it would officially open in 1867) and that it was such a moment of accomplishment and joy for Beechworth that a letter to the editor even suggested that there should be a holiday dedicated to the day the foundation stone as laid. This reveals an extent to which the townspeople of early Beechworth valued the construction of the Hospital in their town. It provided the town with a sense of prestige and honour.At first glance, the remains of the Mayday Hills Hospital in Beechworth, Victoria, inspire tragedy, trauma and beauty. The buildings themselves, with their Italianate style Renaissance architecture designed by J.J. Clark (Craig 2000, 49 & Smith 2016, 203) reflect a bygone period of European and Australian history. The gardens provide a sense of tranquility and beauty. The experience of those within these walls remains a valuable area of study to provide a more complete understanding. This particular hospital is considered the fourth of its like and one of three identified as the largest of their kind. The Mayday Hills Hospital is a sister to the Kew and Ararat Asylums in Melbourne which are both located in relative proximity. Understanding the role of the Mayday Hills Hospital in Beechworth history is integral to understanding the development of the goldfields town, but also for providing important information as to the history of caring for, and the reception of, mental illnesses in Australian and wider European history. Mayday Hills provides a case study which can be researched through oral history, an analysis of the grounds/buildings and through images like this postcard which portray the structure in a highly deliberate manner. Images like this depict the strong façade of the Hospital and provide a glimpse into the tranquility of the gardens. This has been done deliberately to provide a sense of comfort and healing about the building to those looking from the outside. Further research into the importance of the Hospital in Beechworth and it's connection to the town will be supported through images like these kept in the Mayday Hills photo album in the collection of the Burke Museum.Coloured rectangular photograph printed on gloss photographic paper.Reverse: AGFAbeechworth, mayday hills, mayday hills asylum, mental health, history of mental health, asylum, 1860s, gold town, north-east victoria, kew asylum, ararat asylum

This photograph was captured in approximately 1900 and depicts the on site nurses homes. During the 1880s, these detached cottages were constructed and provided accommodation for the staff (in this case, the nurses) who lived within the hospital walls. Within the image are weatherboard buildings, a number of nurses and water tanks. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town. A pamphlet published by James Ingram and Son (1849) reveal that famous landmarks in Beechworth which included the Post Office, Gaol, Courthouse and Asylum "demonstrate the appreciation of Beechworth by the Government not only as as important district center, but also as a site unrivaled as a sanitarium". There were other locations in contention at the time, but ultimately Beechworth was chosen (Craig 2000, 33). Prior to the creation of the Asylum in Beechworth, those charged with having mental illnesses or, as it was termed, "insanity" were unable to be properly cared for in the Gaol (which is where they were often sent). John Buckley Castieau wrote, in 1861 for the Ovens and Murray Advertiser, that the Gaol was unable to properly care for those classified then as "insane" but that they would endeavor to treat them above the other inmates (which he notes is not always the case in other establishments). Castieau wrote this in favour of supporting the building of the Mayday Hills Hospital in Beechworth. It was stated that at the time the Mayday Hills Hospital was built, there were 83 prisoners kept in the Gaol who were to be rehoused to the Hospital on the grounds of "insanity". The classification as someone as "insane", in this period of time is a reflection on the inability to cure and understand illnesses of the mind during the mid to late 1800s. Opening on the 24th of October 1867, the Mayday Hills Hospital was originally named the "Ovens Lunatic Asylum", a title which is very much a product of its time. Whilst controversial, changes to the name is part of the history of the Hospital and can provide much insight into the understanding of mental illness throughout history and the use/disuse of this term provides information into the reception/changing opinions of mental illness in society. The Hospital would later become known as the "Mayday Hills Asylum" and/or "Mayday Hills Hospital" with the latter being the most commonly used title. An article in the Ovens and Murray Advertiser notes that on the 7th of March 1865, the foundation stone of the Hospital was laid (it would officially open in 1867) and that it was such a moment of accomplishment and joy for Beechworth that a letter to the editor even suggested that there should be a holiday dedicated to the day the foundation stone as laid. This reveals an extent to which the townspeople of early Beechworth valued the construction of the Hospital in their town. It provided the town with a sense of prestige and honour.At first glance, the remains of the Mayday Hills Hospital in Beechworth, Victoria, inspire tragedy, trauma and beauty. The buildings themselves, with their Italianate style Renaissance architecture designed by J.J. Clark (Craig 2000, 49 & Smith 2016, 203) reflect a bygone period of European and Australian history. The gardens provide a sense of tranquility and beauty. The experience of those within these walls remains a valuable area of study to provide a more complete understanding. This particular hospital is considered the fourth of its like and one of three identified as the largest of their kind. The Mayday Hills Hospital is a sister to the Kew and Ararat Asylums in Melbourne which are both located in relative proximity. Understanding the role of the Mayday Hills Hospital in Beechworth history is integral to understanding the development of the goldfields town, but also for providing important information as to the history of caring for, and the reception of, mental illnesses in Australian and wider European history. Mayday Hills provides a case study which can be researched through oral history, an analysis of the grounds/buildings and through images like these. Images like these depict the strong façade of the Hospital and provide a glimpse into the tranquility of the gardens. This has been done deliberately to provide a sense of comfort and healing about the building to those looking from the outside. Further research into the importance of the Hospital in Beechworth and it's connection to the town will be supported through images like these kept in the Mayday Hills photo album in the collection of the Burke Museum.Black and white rectangular photograph printed on photographic paper mounted on card"Early nurses quarters, Beechworth Mental Hospital, now May Day Hills Hospital."may day hills hospital, nurses quarters, beechworth, mayday hills, asylum

These images are copies of a photograph (3448) captured in approximately 1900 and depicts the on site nurses homes. During the 1880s, these detached cottages were constructed and provided accommodation for the staff (in this case, the nurses) who lived within the hospital walls. Within the image are weatherboard buildings, a number of nurses and water tanks. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town. A pamphlet published by James Ingram and Son (1849) reveal that famous landmarks in Beechworth which included the Post Office, Gaol, Courthouse and Asylum "demonstrate the appreciation of Beechworth by the Government not only as as important district center, but also as a site unrivaled as a sanitarium". There were other locations in contention at the time, but ultimately Beechworth was chosen (Craig 2000, 33). Prior to the creation of the Asylum in Beechworth, those charged with having mental illnesses or, as it was termed, "insanity" were unable to be properly cared for in the Gaol (which is where they were often sent). John Buckley Castieau wrote, in 1861 for the Ovens and Murray Advertiser, that the Gaol was unable to properly care for those classified then as "insane" but that they would endeavor to treat them above the other inmates (which he notes is not always the case in other establishments). Castieau wrote this in favour of supporting the building of the Mayday Hills Hospital in Beechworth. It was stated that at the time the Mayday Hills Hospital was built, there were 83 prisoners kept in the Gaol who were to be rehoused to the Hospital on the grounds of "insanity". The classification as someone as "insane", in this period of time is a reflection on the inability to cure and understand illnesses of the mind during the mid to late 1800s. Opening on the 24th of October 1867, the Mayday Hills Hospital was originally named the "Ovens Lunatic Asylum", a title which is very much a product of its time. Whilst controversial, changes to the name is part of the history of the Hospital and can provide much insight into the understanding of mental illness throughout history and the use/disuse of this term provides information into the reception/changing opinions of mental illness in society. The Hospital would later become known as the "Mayday Hills Asylum" and/or "Mayday Hills Hospital" with the latter being the most commonly used title. An article in the Ovens and Murray Advertiser notes that on the 7th of March 1865, the foundation stone of the Hospital was laid (it would officially open in 1867) and that it was such a moment of accomplishment and joy for Beechworth that a letter to the editor even suggested that there should be a holiday dedicated to the day the foundation stone as laid. This reveals an extent to which the townspeople of early Beechworth valued the construction of the Hospital in their town. It provided the town with a sense of prestige and honour.At first glance, the remains of the Mayday Hills Hospital in Beechworth, Victoria, inspire tragedy, trauma and beauty. The buildings themselves, with their Italianate style Renaissance architecture designed by J.J. Clark (Craig 2000, 49 & Smith 2016, 203) reflect a bygone period of European and Australian history. The gardens provide a sense of tranquility and beauty. The experience of those within these walls remains a valuable area of study to provide a more complete understanding. This particular hospital is considered the fourth of its like and one of three identified as the largest of their kind. The Mayday Hills Hospital is a sister to the Kew and Ararat Asylums in Melbourne which are both located in relative proximity. Understanding the role of the Mayday Hills Hospital in Beechworth history is integral to understanding the development of the goldfields town, but also for providing important information as to the history of caring for, and the reception of, mental illnesses in Australian and wider European history. Mayday Hills provides a case study which can be researched through oral history, an analysis of the grounds/buildings and through images like these. Images like these depict the strong façade of the Hospital and provide a glimpse into the tranquility of the gardens. This has been done deliberately to provide a sense of comfort and healing about the building to those looking from the outside. Further research into the importance of the Hospital in Beechworth and it's connection to the town will be supported through images like these kept in the Mayday Hills photo album in the collection of the Burke Museum.Black and white rectangular photograph printed on gloss photographic papermental hospital, mayday hills, beechworth, copy, nurse, nurses quarters, on-site dwelling, 1900s, 1880, beechworth asylum

This photograph is a copy of that captured in approximately 1900 and depicts the on site nurses homes. During the 1880s, these detached cottages were constructed and provided accommodation for the staff (in this case, the nurses) who lived within the hospital walls. Within the image are weatherboard buildings, a number of nurses and water tanks. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town. A pamphlet published by James Ingram and Son (1849) reveal that famous landmarks in Beechworth which included the Post Office, Gaol, Courthouse and Asylum "demonstrate the appreciation of Beechworth by the Government not only as as important district center, but also as a site unrivaled as a sanitarium". There were other locations in contention at the time, but ultimately Beechworth was chosen (Craig 2000, 33). Prior to the creation of the Asylum in Beechworth, those charged with having mental illnesses or, as it was termed, "insanity" were unable to be properly cared for in the Gaol (which is where they were often sent). John Buckley Castieau wrote, in 1861 for the Ovens and Murray Advertiser, that the Gaol was unable to properly care for those classified then as "insane" but that they would endeavor to treat them above the other inmates (which he notes is not always the case in other establishments). Castieau wrote this in favour of supporting the building of the Mayday Hills Hospital in Beechworth. It was stated that at the time the Mayday Hills Hospital was built, there were 83 prisoners kept in the Gaol who were to be rehoused to the Hospital on the grounds of "insanity". The classification as someone as "insane", in this period of time is a reflection on the inability to cure and understand illnesses of the mind during the mid to late 1800s. Opening on the 24th of October 1867, the Mayday Hills Hospital was originally named the "Ovens Lunatic Asylum", a title which is very much a product of its time. Whilst controversial, changes to the name is part of the history of the Hospital and can provide much insight into the understanding of mental illness throughout history and the use/disuse of this term provides information into the reception/changing opinions of mental illness in society. The Hospital would later become known as the "Mayday Hills Asylum" and/or "Mayday Hills Hospital" with the latter being the most commonly used title. An article in the Ovens and Murray Advertiser notes that on the 7th of March 1865, the foundation stone of the Hospital was laid (it would officially open in 1867) and that it was such a moment of accomplishment and joy for Beechworth that a letter to the editor even suggested that there should be a holiday dedicated to the day the foundation stone as laid. This reveals an extent to which the townspeople of early Beechworth valued the construction of the Hospital in their town. It provided the town with a sense of prestige and honour.At first glance, the remains of the Mayday Hills Hospital in Beechworth, Victoria, inspire tragedy, trauma and beauty. The buildings themselves, with their Italianate style Renaissance architecture designed by J.J. Clark (Craig 2000, 49 & Smith 2016, 203) reflect a bygone period of European and Australian history. The gardens provide a sense of tranquility and beauty. The experience of those within these walls remains a valuable area of study to provide a more complete understanding. This particular hospital is considered the fourth of its like and one of three identified as the largest of their kind. The Mayday Hills Hospital is a sister to the Kew and Ararat Asylums in Melbourne which are both located in relative proximity. Understanding the role of the Mayday Hills Hospital in Beechworth history is integral to understanding the development of the goldfields town, but also for providing important information as to the history of caring for, and the reception of, mental illnesses in Australian and wider European history. Mayday Hills provides a case study which can be researched through oral history, an analysis of the grounds/buildings and through images like these. Images like these depict the strong façade of the Hospital and provide a glimpse into the tranquility of the gardens. This has been done deliberately to provide a sense of comfort and healing about the building to those looking from the outside. Further research into the importance of the Hospital in Beechworth and it's connection to the town will be supported through images like these kept in the Mayday Hills photo album in the collection of the Burke Museum.Black and white rectangular photograph printed on photographic paper mounted on cardmayday hills, nurse, weatherboard, watertank, mayday hills hospital, asylum, mental health, kew, ararat, mental hospital, beechworth, gold town

Our Eltham - Artistic Recollections by Jim Connor, EDHS newsletter No. 236 October 2017 The Eltham Cemetery Trust, established in 1858, selected the existing burial site at Mount Pleasant Road on high ground overlooking the village of Eltham. The first recorded burial took place in 1861 in the Church of England section. Headstones depict the names of many early and well known local families. In recent years the Trust has encouraged the use of creative artistic elements within the natural bushland environment in their landscaped grounds adjoining Montsalvat. Their ongoing vision has been to offer the local communty a fresh and unique relationship to the Cemetery. On Thursday 21st September 2017 their latest commissioned art project titled ‘Our Eltham - Artistic Recollections’ was unveiled. It is a collection of panels collaboratively created by artist Nerina Lascelles and ceramicist Linda Detoma. The project was designed and constructed by Leigh Wykes using Australian stone with ironwork by Neil Carter. All contributors to this installation, located adjacent to the car park near Metery Road, are residents of the Eltham area. Our Eltham - Artistic Recollections is described as a celebration of life in the Shire since the opening of the Eltham Cemetery more than 150 years ago. Depicting scenes of life in and around Eltham, the collection offers deeper connections to the Eltham area through a series of visual narratives of Eltham’s past, environment and community. The project involves the artistic interpretation by Nerina Lascelles of historic and current images symbolically intermixed with locally indigenous flowers and plants. These are displayed on thirty-one ceramic panels by Linda Detoma, mounted within an iron fence by Neil Carter, upon an attractive rock wall constructed by Leigh Wykes. The Eltham District Historical Society is pleased to have contributed to this project. Russell Yeoman and Jim Connor from our Society have collaborated with Liz Pidgeon, Local and Family History Librarian at Yarra Plenty Regional Library on a selection of photographs, many from the Shire of Eltham Pioneers Collection we hold in partnership, located at Eltham Library. We also provided information on the images chosen. The Eltham Cemetery Trust has produced a booklet about this artwork, which can be viewed on the Cemetery website at: http://www.elthamcemetery.com/oureltham/#1 Our Eltham - Artistic Recollections is a significant monumental installation, which will encourage visitors to come to view this outstanding combination of local creative skills, set within the attractive grounds of the Eltham Cemetery. jim connor collection, eltham cemetery trust, montsalvat, our eltham artistic recollections, 2017-09-21

In 1860 Smeaton residents appealed for funds to establish a school. Patrick Curtain, and his co-workers raised more than £150 plus a land grant (Allot A, Sect 2, Township of Smeaton). Head Teacher John Forbes, with assistant Zillah North, opened a timber school building which measured 36ftx18ft (11.0x5.5m) on 1 September 1861 with 44 children. Rising enrolment to 65 in 1868 made building alterations necessary. During 1870-1 a residence of four rooms was supplied and in October 1882 a 20ftx18ft (6.1x5.5m) classroom. In 1907 a new brick building accommodated 122 children. Among notable ex-pupils are Major-General Bridgeford, Frank Wright ( Musical Director of the London County Council), Alex Wright, (AKA singer Andre Navarre), and Les Brooks. (Visions and Realisations). Frank Wright was a renown resident of Smeaton, where he was born in 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. He was the youngest of eleven children. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was appointed in 1934 as the Musical Director of the London County Council (the GLC or Greater London Council), where he organized many amazing concerts in most of the 150 parks, in and around the London district. He was also responsible for some of London’s major concerts at Kenwood, the Crystal Palace and Holland Park. He was made Professor of Brass and Military Band Scoring and Conducting and was a Fellow of the Guildhall School of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. Frank was awarded an M.B.E. in 1967 and he died in November 1970. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Cream printed certificate with hand written additions.Handwritten additions in caps: This is to Certify that FRANK J.H. WRIGHT has completed satisfactorily the Course of Study prescribed for Elementary Schools. Dated at SMEATON Elementary School, No. 552 this 23RD day of NOV. A.D. 1915 Class-teacher's name: DAVID WALTON Head-teacher's name: DAVID WALTON Robt STEPHENSON Inspector of Schools frank wright, smeaton state school, victorian education department elementary certificate

Extracts from The Church on the Hill: Presbyterianism in Kew 1874-1974 by John A. O’Neill (Mullaya, Canterbury (Vic), 1974, pp.58-60. “An outstanding family which gave devoted service to the Church was the Campbell family of which James Maitland was the “head”. He died at “Ramornie” on the afternoon of Monday 15 December 1930. … “James Maitland Campbell was born in 1847 in Melrose, Scotland, where his father, the Rev. A. J. Campbell D.D., was the Minister of the Kirk. The Rev. Dr. and Mrs. A. J. Campbell, with their family, came to Australia in 1861 and settled in St. George’s Church, Geelong, where he was the first Minister. James Maitland, after completing his secondary education at Geelong College, entered the Melbourne University where he graduated Master of Arts and Master of Laws, and eventually became a partner in the legal firm of Davies and Campbell. When he first came to Melbourne Mr Campbell attended Chalmers Church, East Melbourne, and married Miss Annie Harper, daughter of Robert Harper, a merchant and a sister of Professor Andrew Harper. In March 1875 the young couple settled in Pakington Street, Kew. After the induction of the Rev. Maxwell and the formation of a Board of Management, Mr. Campbell was elected its first Secretary. David Beath, James Maitland Campbell and Duncan Robert McGregor were the first Trustees of our Church. Mr. and Mrs. Campbell joined the Church Choir, and Mr. Campbell became Choir Leader. Members of their family, Bessie, Mary, Nellie and Lewis also sang in the Choir. Mary became a famed teacher of singing in Melbourne. She taught singing to members of the Choir, and gave lessons in voice production to students for the Ministry. In 1879 Mr. Campbell became Superintendent of the Sabbath School, a position he occupied for 27 years. In 1887 he was elected an Elder, and the Session Clerk for 37 years. In 1924 Mr. Campbell compiled a very complete Jubilee History of the Kew Presbyterian Church. Mr. J. M. Campbell saw our existing Church and the Old Manse erected, the Villa purchased, and, with the help of the Kew Congregation, the Charges of West Hawthorn, East Kew and Deepdene established. In the General Assembly of Australia and the General Assembly of Victoria he occupied the important position of Law Agent, and was a member of numerous Church Committees and Councils. … At the Annual Congregational Meeting on Wednesday 28 October 1931, it was decided to erect a tablet in the Church to the memory of the late Mr. J. M. Campbell to record his service to the Church. The tablet was unveiled at the morning service on 13 December by Mr. Legge. The Preacher was Rev. J. Barnaby.”James Maitland Campbell (1847-1930) the owner of “Ramornie” in Pakington Street was an important contributor to the community of Kew in the 19th and early 20th centuries. A Councillor of the Borough of Kew, he was to be elected Mayor on three occasions: 1889-90, 1890-91 and 1892-93. In addition to his political roles, he was the first Secretary of the Kew Presbyterian Church, being actively involved in the life of the Church until his death in 1930. The Kew Historical Society has a small collection of items once belonging to the Campbell family, including a series of invitations issued to Mr. and Mrs. J. M. Campbell for the festivities organised to commemorate the opening of the first Australian Parliament in Melbourne in 1901. Memorial Tablet to James Maitland Campbell (1847-1930) that was originally erected in the Kew Presbyterian Church in Cotham Road. The tablet is comprised of iridescent ceramic tiles.“Erected by the congregation to the Memory of James Maitland Campbell. LL.M. died 15th., December 1930. Session Clerk of this church for 36 years. “A Christian gentleman.”james maitland campbell (1847-1930), kew presbyterian church, ramornie (pakington street), campbell collection

This image is a copy of a photograph depicting the front façade of the Mayday Hills Hospital by an unknown photographer. The date this photograph was captured has not been recorded but due to the appearance of the water fountain in the front garden, it can be estimated to be during the 1930s. The fountain does not remain on the site today but stood in the same location, alongside other physical markers, to that in photographs dating to the 1930s. This allows an estimated date of 1930s for this photograph. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town. A pamphlet published by James Ingram and Son (1849) reveal that famous landmarks in Beechworth which included the Post Office, Gaol, Courthouse and Asylum "demonstrate the appreciation of Beechworth by the Government not only as as important district center, but also as a site unrivaled as a sanitarium". There were other locations in contention at the time, but ultimately Beechworth was chosen (Craig 2000, 33). Prior to the creation of the Asylum in Beechworth, those charged with having mental illnesses or, as it was termed, "insanity" were unable to be properly cared for in the Gaol (which is where they were often sent). John Buckley Castieau wrote, in 1861 for the Ovens and Murray Advertiser, that the Gaol was unable to properly care for those classified then as "insane" but that they would endeavor to treat them above the other inmates (which he notes is not always the case in other establishments). Castieau wrote this in favour of supporting the building of the Mayday Hills Hospital in Beechworth. It was stated that at the time the Mayday Hills Hospital was built, there were 83 prisoners kept in the Gaol who were to be rehoused to the Hospital on the grounds of "insanity". The classification as someone as "insane", in this period of time is a reflection on the inability to cure and understand illnesses of the mind during the mid to late 1800s. Opening on the 24th of October 1867, the Mayday Hills Hospital was originally named the "Ovens Lunatic Asylum", a title which is very much a product of its time. Whilst controversial, changes to the name is part of the history of the Hospital and can provide much insight into the understanding of mental illness throughout history and the use/disuse of this term provides information into the reception/changing opinions of mental illness in society. The Hospital would later become known as the "Mayday Hills Asylum" and/or "Mayday Hills Hospital" with the latter being the most commonly used title. An article in the Ovens and Murray Advertiser notes that on the 7th of March 1865, the foundation stone of the Hospital was laid (it would officially open in 1867) and that it was such a moment of accomplishment and joy for Beechworth that a letter to the editor even suggested that there should be a holiday dedicated to the day the foundation stone as laid. This reveals an extent to which the townspeople of early Beechworth valued the construction of the Hospital in their town. It provided the town with a sense of prestige and honour.At first glance, the remains of the Mayday Hills Hospital in Beechworth, Victoria, inspire tragedy, trauma and beauty. The buildings themselves, with their Italianate style Renaissance architecture designed by J.J. Clark (Craig 2000, 49 & Smith 2016, 203) reflect a bygone period of European and Australian history. The gardens provide a sense of tranquility and beauty. The experience of those within these walls remains a valuable area of study to provide a more complete understanding. This particular hospital is considered the fourth of its like and one of three identified as the largest of their kind. The Mayday Hills Hospital is a sister to the Kew and Ararat Asylums in Melbourne which are both located in relative proximity. Understanding the role of the Mayday Hills Hospital in Beechworth history is integral to understanding the development of the goldfields town, but also for providing important information as to the history of caring for, and the reception of, mental illnesses in Australian and wider European history. Mayday Hills provides a case study which can be researched through oral history, an analysis of the grounds/buildings and through images like this postcard which portray the structure in a highly deliberate manner. Images like this depict the strong façade of the Hospital and provide a glimpse into the tranquility of the gardens. This has been done deliberately to provide a sense of comfort and healing about the building to those looking from the outside. Further research into the importance of the Hospital in Beechworth and it's connection to the town will be supported through images like these kept in the Mayday Hills photo album in the collection of the Burke Museum.Black and white rectangular photograph printed on gloss photographic papermental hospital, insane asylum, mayday hills mental hospital

The Excelsior IV Log is a nautical instrument for measuring a vessel’s speed and distance travelled. When navigating a ship it is essential to be able to estimate the boat’s speed and distance travelled to determine its position at sea. In times past the only way to measure a ship’s speed was to throw a wood log into the water and observe how fast it moved away from the ship. In the 16th century, the log was fastened to a rope knotted at set intervals. The log was thrown over the stern (back) of the vessel and a crew member counted the number of knots that were paid out in a set time. From this, they could estimate the speed of the vessel through the water. This was known as streaming the log and is also the derivation of the knot as a measurement of nautical speed. The Walker’s Excelsior Mark IV instrument was designed for smaller vessels, such as yachts, launches and fishing vessels. Historical: Thomas Walker & Son was internationally renowned in the manufacturing of ships logs, founding father , Thomas Walker (1805–1871), an engineer in Birmingham, patented a mechanical log in 1878 which was a recording instrument that attached to a rail at the stern of a vessel connected by a long cord with a rotor which was towed behind the ship. The instrument dial recorded the distance travelled. Thomas Walker first went into business to manufacture stoves at 58 Oxford Street Birmingham. Walker’s self-feeding stove was widely lauded at the Paris Exhibition of 1855, winning a prize medal and kick starting the first of many notable innovations for the Walker family's manufacturing business. However, it wasn’t until working on an earlier ship’s log model invented by his Uncle that Thomas Walker became interested in the further development of this device, used to ascertain a ship’s speed. Walker continued to improve on the common log for the company of Massey & Sons and these improvements were deemed revolutionary. This log became a firm favourite of the West India Association (British-based organisation promoting ties and trade with the British Caribbean), being the most common log in use for two generations. It took until 1861 for Thomas Walker and his son, Thomas Ferdinand Walker (1831-1921) to patent the first Walker log of many. Together, with the introduction of the A1 Harpoon Log two years later, they established the Walker Log Business as a force to be reckoned with. By the time of his passing in 1871, Thomas Walker Snr had not only founded a family business with considerable staying power but also instilled a tradition of public service. Having sat as a representative on the Birmingham Town Council for 15 years and played an active role in public works, he was soon given the nickname of ‘Blue Brick Walker’. Much like his father, Thomas Ferdinand Walker changed the face of the maritime industry. His patent of 1897, the ‘Cherub’ log, was a notable departure from the past providing a far more accurate reading and replacing the majority of logs of the age. They were the first to produce an electric log and the Walker factory was one of the first to introduce the 48 hour work week for employees. The ship log was invented and made by a significant marine instrument maker and innovator of machinery. It demonstrates the huge leap taken to improve navigational accuracy at sea with an instrument that was in use for decades.Ship's Taff Rail Log, rope attached. Walker's Excelsior IV Log model. Nautical miles dials: units and 10's. "Walker's Excelsior IV Log", "Made in England by Thomas Walker, Birmingham"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, log register, taff rail log, taffrail log, marine navigation, a1 harpoon log, cherub’ log, walker’s excelsior mark iv log, ship’s log instrument, mechanical ship’s log, measure ship’s speed, nautical instrument, navigation instrument, massey & sons, thomas walker, blue brick walker, thomas walker & son, thomas ferdinand walker, 48 hour work week

St Margaret’s Church of England was officially opened on December 12, 1861. It is the oldest intact church building in Eltham. At the time it was known as Christ Church until its consecration in 1871, when it was completely free of debt (£1,700 for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including locally made bricks donated by local artisans and others. The church is historically significant because it is the oldest church in the former Shire of Eltham and has associations with the philanthropist and founder of Brighton, Henry Dendy (who donated the land on which the church is built), the architect Nathaniel Billing and the prominent local builder, George Stebbing. The church is architecturally and aesthetically significant because it is constructed in the Gothic Revival style with several stained-glass windows of various dates and is also a very early use of polychromatic brickwork in Victoria. Billing was one of the first Melbourne architects to employ polychromatic brickwork and an important early architect. The rear wall was intended to be temporary. A major feature of the design is the large buttresses with long, steeply graded upper faces. The overall design is well proportioned with the surface brick patterns relieving an otherwise austere design. The church is spiritually and socially significant because it has been an important place of worship for the people of Eltham for almost 150 years. The land on which the buildings stand was donated by Henry Dendy. Dendy arrived in Melbourne in 1841 after purchasing in England eight square miles at Brighton under the system of "special surveys". After this land passed out of his hands, Dendy moved about Victoria, visited England, then returned to settle in Eltham where he purchased a flour mill. Dendy chaired the meeting held in 1860 “for the purpose of devising such means as may be expedient for the establishment of a Church of England in the township of Eltham”. He became chairman and treasurer of the church committee. Unlike the establishment of many early churches in Victoria where a vicar was appointed to a parish and later a permanent church was constructed, the population at Eltham initiated action to build a church. The nearest church at that time was at Heidelberg and the Eltham settlement was part of the parish of St Johns Heidelberg. Isolation and the tedious, time consuming journey between Heidelberg and Eltham resulted in the Eltham community taking its own action. The original vicarage (Dendy House) at the rear of the church is also an important part of the cultural significance of this place because it is connected to the church and the development of the Eltham area. Together, the church and the vicarage are aesthetically significant because they form a significant streetscape feature. The mud-brick community hall designed by Robert Marshall was added in 1978. In 2014 the original temporary rear wall was removed as part of a modern extension designed by Architects Atelier Wagner and constructed by Conrad Construction and Management. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Trust of Australia (Victoria) State significance Victorian Heritage Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p67This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, st margaret's anglican church, st margaret's church, christ church

This decorative octagonal inlaid table was made by Johann Landmann as a wedding present to his wife and was donated to Flagstaff Hill by the wife of Landmann's great-grandson. Landmann (or Landman, also known as August Landmann) was born in 1826 in Ganhor, Silesia, Prussia. At the age of 20, he travelled through Europe, working from town to town as a cabinet maker. At 26 years old he returned to Germany, married Anna Rosina in Wahlstatt, Prussia, and on the same day sailed for Australia on the Wilhelmsburg in 1853, the year the ship was registered. The Wilhelmsburg was a three-masted, square-rigged sailing ship built at Reiherstieg, Hamburg, and registered in Hamburg on 27th April 1853. On her maiden voyage in 1853, the ship sailed from Hamburg, Germany, to Australia with 510 passengers on board, including emigrants under the Bounty Scheme. Johan Landmann was one of the passengers. The Wilhelmsburg arrived in Hobson’s Bay, Melbourne after sailing for 100 days. Johann spent a week in Melbourne then travelled to Warrnambool aboard the Merry Kitty, arriving fourteen days later. Johann had landed in Melbourne with only 16 shillings in his pocket and by the time he arrived in Warrnambool, he only had one shilling and sixpence left. He also had very limited ability to speak English. He settled in the Allansford area, near Warrnambool, together with other families from Germany and went on to play a significant role in the history of Warrnambool. Johann worked as a cabinet maker in Warrnambool, making the first coffin in the Warrnambool cemetery. He also worked as a general merchant. He built many of the earliest shops in Warrnambool, and the first paddle boat used on the local Hopkins River. He made models of Warrnambool’s Ozone Hotel and Presbyterian Church; the model of the Hotel is now in the Warrnambool Art Gallery, and the model of the Presbyterian Church has been in the care of the Warrnambool & District Historical Society since around 2017. One of Landmann's residences was a two-storey building in Henna Street Warrnambool where he, lived upstairs and operated his business downstairs. After he retired Landmann built a ‘handsome stone residence’ at 30 Mickle Street, Warrnambool, where he lived until his death in June 1920; he was aged ninety-five. “Landmann Street” in Warrnambool has been named after Johann and appears on a map in 1872. He has also been honoured on Warrnambool’s Pioneer Memorial Board which is displayed at the Warrnambool and District Historical Society. Landmann's son Adolph Fritz Landmann (Fritz Landmann) born in 1861, was a Councillor from 1905 to 1915, and Mayor of Warrnambool from 1912 to 1915. The Wilhelmsburg sailed from Hamburg in 1863 heading for Queensland, Australia, but in December the vessel was wrecked off the coast of Holland during storms, with the loss of 247 lives.The table is significant as an early Warrnambool historical artefact with a connection to the maiden voyage of the ship Wilhelmsburg a vessel that holds the record for the number of passengers carried in one journey on a small vessel. Johann Landmann is regarded as a significant and historical figure in the development of Warrnambool as one of the earliest pioneers, not only as a businessman but the civic duties he undertook. First as a councilman and later the mayor of Warrnambool.Table, wooden, inlaid octagonal, two tiered with eight pillar supports and seven turned legs (one leg missing). Two large cracks in table top. A handwritten inscription is beneath the table top.Inscription is indecipherable. shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, shipwrecked artefact, warrnambool, table, octagonal table, inlaid woodwork, wilhelmsburg, johann landmann, augustus landmann, fritz landmann (warrnambool mayor), ozone hotel warrnambool, inlaid table

This trinket box was made by Johann Landmann during his journey on the sailing ship Wilhelmsburg and was donated to Flagstaff Hill by the wife of Landmann's great-grandson. Landmann (or Landman, also known as August Landmann) was born in 1826 in Ganhor, Silesia, Prussia. At the age of 20, he travelled through Europe, working from town to town as a cabinet maker. At 26 years old he returned to Germany, married Anna Rosina in Wahlstatt, Prussia, and on the same day sailed for Australia on the Wilhelmsburg in 1853, the year the ship was registered. The Wilhelmsburg was a three-masted, square-rigged sailing ship built at Reiherstieg, Hamburg, and registered in Hamburg on 27th April 1853. On her maiden voyage in 1853, the ship sailed from Hamburg, Germany, to Australia with 510 passengers on board, including emigrants under the Bounty Scheme. Johan Landmann was one of the passengers. The Wilhelmsburg arrived in Hobson’s Bay, Melbourne after sailing for 100 days. Johann spent a week in Melbourne then travelled to Warrnambool aboard the Merry Kitty, arriving fourteen days later. Johann had landed in Melbourne with only 16 shillings in his pocket and by the time he arrived in Warrnambool, he only had one shilling and sixpence left. He also had very limited ability to speak English. He settled in the Allansford area, near Warrnambool, together with other families from Germany and went on to play a significant role in the history of Warrnambool. Johann worked as a cabinet maker in Warrnambool, making the first coffin in the Warrnambool cemetery. He also worked as a general merchant. He built many of the earliest shops in Warrnambool, and the first paddle boat used on the local Hopkins River. He made models of Warrnambool’s Ozone Hotel and Presbyterian Church; the model of the Hotel is now in the Warrnambool Art Gallery, and the model of the Presbyterian Church has been in the care of the Warrnambool & District Historical Society since around 2017. One of Landmann's residences was a two-storey building in Henna Street Warrnambool where he, lived upstairs and operated his business downstairs. After he retired Landmann built a ‘handsome stone residence’ at 30 Mickle Street, Warrnambool, where he lived until his death in June 1920; he was aged ninety-five. “Landmann Street” in Warrnambool has been named after Johann and appears on a map in 1872. He has also been honoured on Warrnambool’s Pioneer Memorial Board which is displayed at the Warrnambool and District Historical Society. Landmann's son Adolph Fritz Landmann (Fritz Landmann) born in 1861, was a Councillor from 1905 to 1915, and Mayor of Warrnambool from 1912 to 1915. The Wilhelmsburg sailed from Hamburg in 1863 heading for Queensland, Australia, but in December the vessel was wrecked off the coast of Holland during storms, with the loss of 247 lives.The trinket box is significant as an early Warrnambool historical artefact with a connection to the maiden voyage of the ship Wilhelmsburg a vessel that holds the record for the number of passengers carried in one journey on a small vessel. Johann Landmann is regarded as a significant and historical figure in the development of Warrnambool as one of the earliest pioneers, not only as a businessman but the civic duties he undertook. First as a councilman and later the mayor of Warrnambool. Trinket box, wooden, with inlaid timber patterns and images. The design includes a mirror with a hidden compartment inside the hinged lid, a removable inner tray divided into compartments, and a fitted brass lock. The trim around the base is angled to widen the base. Images on the lid and three sides represent sailing vessels and a building. The lid and corners have a rope-edge design. Panels of the top and three sides have an intricate inlaid pattern featuring various wood grains. Images are framed by lines etched into the wood. The inside corners of the frames have inlaid quarter-circles of contrasting woods, resembling photograph corners.shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwrecked artefact, warrnambool, trinket box, inlaid woodwork box, wilhelmsburg, landmann, johann landmann, augustus landmann, landman, fritz landmann (warrnambool mayor), presbyterian church warrnambool, 30 mickle st warrnambool, ozone hotel warrnambool, johann carl augustus landmann, jewellery box

The artefact is a damaged brass cow bell recovered from the 1878 shipwreck of the LOCH ARD near Port Campbell. It was raised by Flagstaff Hill divers in 1973 and is in storage at the Maritime Village. The LOCH ARD was constructed on the Clyde in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman and one young female passenger. A century later, despite the pounding seas and the efforts of looters, the wreck site continued to provide ample evidence of the extraordinary range of goods being imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” From this array of objects on the ocean floor emerged the humble brass cow bell. Cow bells were common to colonial agriculture and transport, used wherever animals were turned out to graze overnight and had to be rounded up again next morning. Bells were fastened around the necks of household milking cows, domestic goats, bullock teams, horse teams, and camel teams, to help find them in the pre-dawn light. Station shepherds and cattle drovers also used them to warn of any disturbances to their flocks and herds overnight. The bells were a necessary item in a largely unfenced continent. So important, that Anthony Mongon began making his pot-bells at Yackandandah from 1861, August Menneke produced the “Wagga Pot” from 1867, and Samuel Jones started manufacturing his distinctively shaped “Condamine Bell” in 1868. However, these deeply resonant Australian bells were made from iron — Mongon and Jones were blacksmiths who simply beat old pitsaw blades into shape. Few genuinely brass cow bells were made here, the vast majority being imported from Britain where the industry of brass founding was already well established. (Some bells were also imported from the United States, but these too were nearly all of iron).This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. It was included in the cargo of the Loch Ard. Its significance is increased by being one of a collection of artefacts recovered by the Flagstaff Hill Divers from the wreck of the Loch Ard in the early 1970s. Items that come from several wrecks along Victoria's coast have also been recovered for Flagstaff Hill Maritime Village’s museum collection under a Government permit, illustrating this item’s level of historical value. The cow bell is also significant for being part of Flagstaff Hill’s collection of artefacts from LOCH ARD, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history.Cow bell; a small brass bell, blunt-wedge shaped. The sides expand outwards from the smaller rectangular roof of the bell to a larger open rectangle or bell mouth. The handle, now missing, was fixed in two places at the top. A neat half-circle piece has been cut from the base on a long edge. Recovered from the wreck of the Loch Ard.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, eva carmichael, mutton bird island, loch ard gorge, brass cow bell, colonial cow bells, 1878 shipwreck, shipwreck artefact, flagstaff hill divers, cow bell

X-Rays were first discovered on 8 November 1895. By 18 July 1896 staff members of the Ballarat School of Mines (SMB), were experimenting with the exciting new discovery. The history of x-rays began on 8 November 1895 at the University of Wurzburg in Bavaria. The discovery was officially announced on 25 December 1895. The first radiographs in Ballarat were taken at the School of Mines in July 1896 according to the Ballarat School of Mines (SMB) Annual Report. Frederick J. Martell, the Registrar of SMB arranged for the importation of tubes, while John M. Sutherland, an electrician, conducted most of the experiments giving 6 inch, 12 inch and 16 inch sparks respectively. In a short time brilliantly successful results were obtained, with some SMB Roentgen negatives taken at this time still in existence today. Samuel Ernest Figgis, H. R. W. Murphy, D. McDougall, and Frederick J. Martell carried out experiments at the SMB on Saturday evening 18 July 1896, producing 'perfect' negatives of a hand and wrist. A Roentgen Tube and an induction coil giving a two inch spark, the coil being sparked by the SMB's dynamo, were used to obtain these results. The Courier reported that 'the exposure of five minutes was ample' but concluded that 'the length of the exposure will be shortened as experiments proceed.' The Ballarat Courier reported on 20 July 1896 that: "Thanks to the energy of the staff of The School of Mines, Ballarat, and particularly to Messers F.J. Martell and D. McDougall, the assistance of Rontgen X-rays will soon be available, for the relief of suffering humanity, at this institution." Martell was an ardent amateur photographer, and Duncan McDougall's experience as an electrician has enabled the two gentlemen to carry their experiments on to a perfectly successful issue. At first these gentlemen, together with Professor Purdie and Mr W. Huey Steele, conducted a series of experiments by the aid of a Bonetti glass-plate induction machine which had been constructed by Mr McDougall. The results were very good, the various bones of the hand being distinctly visible. The following people were among those who witnessed the first X-ray experiments to be carried out in Ballarat. Andrew Anderson, President of the School of Mines, a large number of ladies and gentlemen, the medical profession Dr Edward Champion (1867-1929) Dr Gerald Eugene Cussen (1888-1943) Dr William Edward Davies (1868-1928) Dr Charles William Henry hardy (1861-1941) Dr Edward Kenneth Herring(1864-1922) Dr Joseph Lalor (1859-1907) Dr James Thomas Mitchell (1856-1945) Dr Edward Graham Ochiltree (1857-1896) Dr Robert Denham Pinnock (1849-1902) Dr Joseph Francis Usher (c1832-1909) Dr Grace Vale (nk-1933). The staff of SMB Professor Alfred Mica Smith Professor D. J. Dawbarn Mr. F. J. Martell. (http://guerin.ballarat.edu.au/aasp/is/library/collections/art_history/honour-roll/honourroll_X-Ray_pioneers.shtml)Two men, one seated, one standing standing in a room with early electrical equipment. They are conducting pioneer X-rays at the Ballarat School of Mines in 1896. Seated on the left is John Waters Sutherland.A bromide of this images states "Experimenting with X-rays, 1896"ballarat school of mines, x-ray, xray, john sutherland, sutherland, electricity, photography, foto, roentgen tube, medical

In times past the only way to measure a ship’s speed was to throw a wood log into the water and observe how fast it moved away from the ship. In the 16th century, the log was fastened to a rope knotted at set intervals. The log was thrown over the stern (back) of the vessel and a crew member counted the number of knots that were paid out in a set time. From this, they could estimate the vessel's speed through the water. This was known as streaming the log and is also the derivation of the knot as a measurement of nautical speed. Various manufacturers of nautical equipment had sought over the years to perfect the operation of determining a ship's speed and it wasn't until Thomas Walker and his son Ferdinand developed a mechanical system that eventually made this task became easy for marine navigators. Thomas Walker & Son were internationally renowned in the manufacturing of ship logs the founding father, Thomas Walker (1805–1871), an engineer in Birmingham, patented his mechanical log in 1878 which was a recording instrument that attached to a rail at the stern of a vessel connected by a long cord with a rotor which was towed behind the ship. The instrument dial then recorded the distance travelled. Thomas Walker first went into business to manufacture stoves at 58 Oxford Street Birmingham. Walker’s self-feeding stove was widely lauded at the Paris Exhibition of 1855, winning a prize medal and kickstarting the first of many notable innovations for the Walker family's manufacturing business. However, it wasn’t until working on an earlier ship’s log model invented by his Uncle that Thomas Walker became interested in the further development of this device, used to ascertain a ship’s speed. Walker continued to improve on the common log for the company of Massey & Sons and these improvements were deemed revolutionary. This log became a firm favourite of the West India Association (a British-based organisation promoting ties and trade with the British Caribbean), being the most common log in use for two generations. It took until 1861 for Thomas Walker and his son, Thomas Ferdinand Walker (1831-1921) to patent the first Walker log of many. Together, with the introduction of the A1 Harpoon Log two years later, they established the Walker Log Business as a force to be reckoned with. By his passing in 1871, Thomas Walker Snr had not only founded a family business with considerable staying power but also instilled a tradition of public service. Having sat as a representative on the Birmingham Town Council for 15 years and played an active role in public works, he was soon given the nickname of ‘Blue Brick Walker’. Much like his father, Thomas Ferdinand Walker changed the face of the maritime industry. His patent of 1897, the ‘Cherub’ log, was a notable departure from the past providing a far more accurate reading and replacing the majority of logs of the age. They were the first to produce an electric log (Trident) and the Walker factory was one of the first to introduce the 48-hour work week for employees.The ship log was invented and made by a significant marine instrument maker and innovator of machinery. It demonstrates the huge leap taken to improve navigational accuracy at sea with an instrument that was in use for decades.Ships Log, Walker Trident electric motor, in wooden box with instructions inside box. The motor dial with electric cord is still inside box.Inscription "Admiralty patent number 3332" and "Walker Trident Electric Ship Log (Mark III), 15-25 volt". On top of lid, hand written, is "G TAYLOR"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ships log, thomas walker & son, electric ships log, marine navigation, thomas ferdinand walker, ship log

The artefact is a damaged brass cow bell recovered from the 1878 shipwreck of the LOCH ARD near Port Campbell. It was raised by Flagstaff Hill divers in 1973 and is in storage at the Maritime Village. The LOCH ARD was constructed on the Clyde in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman and one young female passenger. A century later, despite the pounding seas and the efforts of looters, the wreck site continued to provide ample evidence of the extraordinary range of goods being imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” From this array of objects on the ocean floor emerged the humble brass cow bell. Cow bells were common to colonial agriculture and transport, used wherever animals were turned out to graze overnight and had to be rounded up again next morning. Bells were fastened around the necks of household milking cows, domestic goats, bullock teams, horse teams, and camel teams, to help find them in the pre-dawn light. Station shepherds and cattle drovers also used them to warn of any disturbances to their flocks and herds overnight. The bells were a necessary item in a largely unfenced continent. So important, that Anthony Mongon began making his pot-bells at Yackandandah from 1861, August Menneke produced the “Wagga Pot” from 1867, and Samuel Jones started manufacturing his distinctively shaped “Condamine Bell” in 1868. However, these deeply resonant Australian bells were made from iron — Mongon and Jones were blacksmiths who simply beat old pitsaw blades into shape. Few genuinely brass cow bells were made here, the vast majority being imported from Britain where the industry of brass founding was already well established. (Some bells were also imported from the United States, but these too were nearly all of iron).This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. Its significance is increased by being one of a collection of artefact recovered by the Flagstaff Hill Divers from the wreck of the Loch Ard in the early 1970s. Items that come from several wrecks along Victoria's coast have also been recovered for Flagstaff Hill Maritime Village’s museum collection under Government permit, illustrating this item’s level of historical value. The cow bell is also significant for being part of Flagstaff Hill’s collection of artefacts from LOCH ARD, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history.A small brass cow bell, in poor condition. It is blunt-wedge shaped. The sides expand outwards from the smaller rectangular roof of the bell to a larger open rectangle or bell mouth. A handwritten label is attached to the bel. Recovered from the wreck of the Loch Ard.Label text "["10/6/73, Brass Cow Bell, LOCH ARD, Found in the sandy hole in the centre of the wreck site. Cow bells were part of the cargo" - "10/6/73, LOCH ARD, small brass cow bell salvaged by FHMV divers"]. "LOCH ARD / PETER RONALD"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, eva carmichael, mutton bird island, loch ard gorge, brass cow bell, colonial cow bells, 1878 shipwreck, shipwreck artefact, flagstaff hill divers

The artefact is a brass cow bell recovered from the 1878 shipwreck of the LOCH ARD near Port Campbell. It was raised by Flagstaff Hill divers in 1973 and is in storage at the Maritime Village. The LOCH ARD was constructed on the Clyde in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. A century later, despite the pounding seas and the efforts of looters, the wreck site continued to provide ample evidence of the extraordinary range of goods being imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” From this array of objects on the ocean floor emerged the humble brass cow bell. Cow bells were common to colonial agriculture and transport, used wherever animals were turned out to graze overnight and had to be rounded up again next morning. Bells were fastened around the necks of household milking cows, domestic goats, bullock teams, horse teams, and camel teams, to help find them in the pre-dawn light. Station shepherds and cattle drovers also used them to warn of any disturbances to their flocks and herds overnight. The bells were a necessary item in a largely unfenced continent. So important, that Anthony Mongon began making his pot-bells at Yackandandah from 1861, August Menneke produced the “Wagga Pot” from 1867, and Samuel Jones started manufacturing his distinctively shaped “Condamine Bell” in 1868. However, these deeply resonant Australian bells were made from iron — Mongon and Jones were blacksmiths who simply beat old pitsaw blades into shape. Few genuinely brass cow bells were made here, the vast majority being imported from Britain where the industry of brass founding was already well established. (Some bells were also imported from the United States, but these too were nearly all of iron). This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. Its significance is increased by being one of a collection of artefact recovered by the Flagstaff Hill Divers from the wreck of the Loch Ard in the early 1970s. Items that come from several wrecks along Victoria's coast have also been recovered for Flagstaff Hill Maritime Village’s museum collection under Government permit, illustrating this item’s level of historical value. The cow bell is also significant for being part of Flagstaff Hill’s collection of artefacts from LOCH ARD, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Brass cow bell, flat-top pyramid shape, rectangular head, shoulders flare out to a rectangular mouth. The hanging yoke is missing. Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, loch ard, cowbell, great ocean road, loch line, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, cow bell, brass cow bell, shipwreck artefact, flagstaff hill divers, horse bell, bell smith, vintage bell, farmer, shepherd, drover, stock bell, brass bell

The artefact is a brass cow bell recovered from the 1878 shipwreck of the LOCH ARD near Port Campbell. It was raised by Flagstaff Hill divers in 1973 and is in storage at the Maritime Village. The LOCH ARD was constructed on the Clyde in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. A century later, despite the pounding seas and the efforts of looters, the wreck site continued to provide ample evidence of the extraordinary range of goods being imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” From this array of objects on the ocean floor emerged the humble brass cow bell. Cow bells were common to colonial agriculture and transport, used wherever animals were turned out to graze overnight and had to be rounded up again next morning. Bells were fastened around the necks of household milking cows, domestic goats, bullock teams, horse teams, and camel teams, to help find them in the pre-dawn light. Station shepherds and cattle drovers also used them to warn of any disturbances to their flocks and herds overnight. The bells were a necessary item in a largely unfenced continent. So important, that Anthony Mongon began making his pot-bells at Yackandandah from 1861, August Menneke produced the “Wagga Pot” from 1867, and Samuel Jones started manufacturing his distinctively shaped “Condamine Bell” in 1868. However, these deeply resonant Australian bells were made from iron — Mongon and Jones were blacksmiths who simply beat old pitsaw blades into shape. Few genuinely brass cow bells were made here, the vast majority being imported from Britain where the industry of brass founding was already well established. (Some bells were also imported from the United States, but these too were nearly all of iron). This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Cow bell, brass, covered in encrustation, handle missing from the top.flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, great ocean road, shipwreck artefact, loch ard, mutton bird island, glenample, eva carmichael, tom pearce, flagstaff hill divers, cow bell, horse bell, bell smith, vintage bell, farmer, shepherd, drover, stock bell, brass bell