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

This sturdy, deep hat box has been carefully constructed to give the contents utmost protection in the roughest of travel conditions. At the same time, attention to detail and quality of materials makes the box an attractive, desirable and useful piece of luggage. The supports inside the hat box show that the hat’s brim dipped at the front and back in the popular 1920s Homburg or Derby style. The hat box was likely to have been purchased, complete with its fashionable hat and personalised with the initials ‘G.M.’. The five shipping labels on the hat box tell that the owner traveller overseas with it on more than one occasion. The owner had first travelled with the shipping line Peninsular & Orient Steam Navigation Company, and may have been one the first Australian passengers in 1932, as the remnant of label on the base reads Sydney. The owner later voyaged under the company’s new name of P & O. and travelled from at least one of the voyages from Melbourne to London The square label, with “P & O” and red printed “M” in centre of circle, refers to alphabetical organisation of baggage by surname, connecting the owner ‘G.M.’ to the owner’s voyage with P & O. The P & O shipping line’s early beginnings started with the partnership of London ship broker Brodie McGhie Willcox and Scottish sailor Arthur Anderson in 1822. The partnership was joined by Irish shipowner Captain Richard Bourne in 1835 and they began operation as the Peninsular & Orient Steam Navigation Company with a service between London- Spain - Portugal. In 1932 the company expanded to include Australia with its passenger services departing from Sydney; in 1840 the company was incorporated. After various take-overs of other shipping lines and businesses, it operated under the name P & O. JOHN BRUSH The hat box was made by Australian saddle designer and maker, John Brush, Sons & Co. Brush began his saddlery trade in Roma, Queensland, His designing process included consulting with the men who rode and worked the horses. He was described in the Sydney Morning Herald of December 15, 1897, as a leading Sydney saddler, well known and reliable, with every kind of English and Australian saddle on view. John Brush established his business in 1840, operating from 371 George Street Sydney. A catalogue from that era jointly advertises John Brush (371 George Sty Sydney) and Butlers & Brush (432-4 Queen Street Sydney), both under the name of Edward Butler & Co. Pty. Ltd. The catalogue included saddlery, harness equipment, riding wear and travel goods, and strongly promoted the Wienkek made saddles, which he distributed Australia wide. John Brush, So & co. advertised its ‘new’ address in 1887, as 403 George Street Sydney. In 1898 Brush made a side-saddle for a customer, a design popular with gentlewomen of the era. The business was still operating over 100 years later, producing a catalogue in the 1950s.This early 20th century hat box is significant for being one of a kind in our Collection. Its fitted design shows the shape of the hat, dating it from the 1920s men’s fashions. The hat box is significant for being a high quality hat box made in Sydney, Australia by prominent and successful early colonial saddler and leather goods business, John Brush, Son & Co. The labels on the outside of the hat box are also significant, representing the prosperous lifestyle of an Australian traveller who purchased quality goods and cared for them. The traveller was able to depart from firstly the Port of Sydney and later the Port of Melbourne. Hatbox, oval shape, brown leather, strong, sturdy construction, six pieces, and metal lock on base. Wide lid, then tapers to a narrower base that has a red leather trim. Brown velvet fabric lining inside and covers some accessories. Other internal accessories are trimmed with plain red paper and blue and white striped paper. The lid has two attached leather tabs and a leather handle and underneath it has a drawstring liner and oval, gold-lettered maker’s label. The internal oval box has a leather retention strap and brim support. Separate moulded brim support is included. A detached leather strap with catch is inside the base. Inscriptions are stamped on the lid, printed on the maker’s label, attached as printed paper labels to the lid, sides, and under the base. Maker is John Brush, Son & Co. of Sydney. The owner’s initials “G.M” are embossed on the lid.Stamped on lid “G. M.” Label, oval, inside lid “JOHN BRUSH, SON & CO. / MANUFACTURERS & IMPORTERS / of / SADDLERY AND HARNESS / 403, GEORGE ST. / SYDNEY” Label, paper: “BAGGAGE, MELBOURNE TO LONDON’, part of word ‘CABIN’ and “P & O” Label, square, white background, black print, circular emblem: ‘PE - - - - - & ORIEN-’, ‘STEAM NAVIATION COMPY.’ BAGGAGE’ and a red printed “M” in centre of circle. Label, rectangular, white background, black print; narrow line border, text in rows and an ‘X’ overprinted, from corner to corner of the border: “BAGGAGE / P. & O. S. N. Co. / MELBOURNE / To / LONDON” Label, paper, rectangular, white background, black print, an “X” across the label: “CABIN / P & O / “ Label, paper, on base, “– aid” [Paid], “SYDNEY” flagstaff hil, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, hat box, leather hat box, vintage hat box, top hat, homburg hat, derby hat, travel ware, luggage, leather goods, travel goods, clothing accessory, men’s clothing, john brush, son & co, saddler, sydney firm, peninsular & orient steam navigation company, p & o, g.m., melbourne to london, sydney port, melbourne port, hat case

This mortice marking gauge has an adjustable sliding arm. The gauge is used for scribing two lines on a flat surface such as timber for measuring and cutting. It is a hand-powered tool that would have been used by a tradesperson such as a cabinet maker, woodworker or carpenter. The hand tool shows signs of much use. The ‘W. Maples & Sons, Hibernia’s catalogue of 1867 had a very similar tool, called a Mortice Gauge, column 2, page 15. W. MARPLES & SONS- William Marples Snr. had a business on the Sheffield Moor in 1773/74. In 1821 his son William Jnr. At 12 years old began in his father’s joinery business. 1833 the firm was known as a tool manufacturer. In 1838 Marples called his business Hibernian Works and moved to 67-69 Spring Lane, Sheffield. When he moved to Westfield Terrace in 1856, he called his business Hibernia Works (no ‘n’ on the end). The business remained at this address for 116 years. In about 1859 the firm began using the Lyre (Irish harp) mark. In 1860 or so the two brothers, Edwin and William Marples, became partners and the firm became William Marples and Sons. The firm introduced the single shamrock symbol in 1860-61. The boys’ brother Albert joins the firm in 1863. In 1875 the company registered both the name ‘Hibernia’ and the trade mark symbol of a Triple Shamrock and the use of these trademarks continued for many decades, into the 1940 and the firm, with many changes, was still in business in the early 21st century. About Shamrock and Hibernia, both are related to Ireland and W. Marples named his products the Shamrock brand.The marking gauge is an example of a hand powered woodworking tool used over the past few centuries. Its maker was well known for his good quality tools and his business grew because of his reputation.Mortice marking gauge: wooden staff with block and green, adjustable sliding arm within the staff. The end of the staff has a facility for holding the scribe marker. The block has a hole into which a peg or wedge would be inserted to hold the sliding arm in place. Inscription with maker's name and almost indecipherable mark is stamped onto one side of the block. Made by W Marples & Sons, Sheffield.Stamped into block “W. MARPLES & SONS / HIBERNIA WORKS” above Logo of ‘Trefoil’ image [three, three-leafed clovers on the same stem]flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, hand tool, woodwork, marking gauge, measuring tool, mortice gauge, mortice marking gauge, william marples, w marples & sons, hibernia, shamrock, trifoil, tripple shamrock, carpenter's tool, cabinet maker, woodworking tool, drawing, planning, tool, wooden scribe, vintage, carpenter, marking tool, antique, marking out, joiner

This medal is the Liverpool Shipwreck and Humane Society’s “Bramley-Moore medal for saving life at sea 1872”. The Society was formed in 1839. In 1872 Mr John Bramley-Moore donated £500 on condition that the medal have the specific inscription above on its reverse. The Bramley Morre medal was first awarded in 1874 and records show that since that time only one gold medal has been awarded, twenty-two silver medals and seventeen bronze medals, the last being in 1945. This Bromley-Moore medal was awarded to Peter Carmody for his bravery in saving lives on the Newfield shipwreck. The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1889 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt, the main export product of Sharpness. At about 9pm on 28th August 1892, in heavy weather, Captain Scott sighted, between heavy squalls, the Cape Otway light on the mainland of Victoria but, due to a navigational error (the ship’s chronometers were wrong), he assumed it to be the Cape Wickham light on King Island, some 40 miles south. He altered his course to the north, expecting to enter Bass Strait. The ship was now heading straight for the south west Victorian coast. At about 1:30am the Newfield ran aground on a reef about 100 yards from shore and one mile east of Curdie’s Inlet, Peterborough. The ship struck heavily three times before grounding on an inner shoal with 6 feet of water in the holds. Rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The rescue was a difficult operation. The Port Campbell Rocket Crew arrived and fired four rocket lines, none of which connected with the ship. Peter Carmody, a local man, volunteered to swim about one mile off shore to the ship with a line to guide the fourth and final lifeboat safely to shore. He was assisted by James McKenzie and Gerard Irvine. Seventeen men survived the shipwreck but the captain and eight of his crew perished. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one man style of navigation" and that the Captain had not heeded the advice of his crew. According to Jack Loney ‘… when the drama was over . . the Newfield was deserted except for the Captain’s dog and two pigs.’ Peter Carmody was awarded the Bramley-Moore medal by the Liverpool Shipwreck and Humane Society for Saving Life at Ssea, which he received by mail on January 21st 1893. The medal and a letter of congratulations were donated to Flagstaff Hill Maritime Museum by Peter Carmody’s grand-daughter Norma Bracken and her son Stuart Bracken on 25th May 2006. The Medal and Letter of Congratulations join other items in the Newfield collection.The Carmody Medal recognises the bravery of Peter Carmody in risking his life to rescue crew members of the Barque Newfield when it was wrecked near Curdies Inlet in August 1892. The ‘Bramley-Moore medal for saving life at sea, 1872’ was presented by the Liverpool Shipwreck and Humane Society. The medal and accompanying letter have local and international historic significance as they demonstrate both the difficulties associated with navigation and the dangers of shipping along the South West Coast of Victoria in the 19th century and the medal’s association with the Liverpool Shipwreck and Humane Society and John Bramley-Moore, who provided £500 to found the Bramley-Moore medal. The medal is socially significant. It emphasises the importance of Peter Carmody in rescuing victims of shipwrecks with little thought for his own safety. The medal reminds us of the importance of local people to Victoria’s maritime history. The Carmody Medal and Humane Society letter were in the Carmody family until they were presented to Flagstaff Hill Maritime Village, by the grand-daughter and great-grandson of Peter Carmody, on the 25th May 2006. The medal is significant for its complete provenance recorded in the donation documentation. The medal is in very good condition and relatively rare with only 22 silver medals awarded between 1874 and 1945. The Carmody Medal and letter add a human element to the story of the shipwrecks. They give life and significance to the Newfield, its victims and its artefacts. Bramley-Moore medal from the Liverpool Shipwreck and Humane Society, awarded to Peter Carmody. The round,silver medal is attached to a looped blue ribbon by a decorative, swivelling silver connector. The top of the ribbon has a silver pin bar threaded through it. The obverse of the medal has a design of a man kneeling on a floating part of a wreck. He is rescuing a child from the sea. There is a manned boat in the distance rescuing someone from the sea. In the far background there is a sailing ship. The top third of the medal has an inscription around it. The reverse shows a long-legged hen cormorant with extended wings holding an olive branch in its beak. The bird is surrounded by a wreath of oak leaves made from two branches. There is an inscription between the design and the rim that goes all the way around the circumference. There is a name engraved around the edge of the medal. The medal in embedded in a purple velvet panel that rests inside a brown, leather-covered case. The lid of the case has a gold embossed emblem in the cemtre. Both the lid and base have a rectangular gold border. The lid is attached to the base with two brass hinges. The base has a brass push-button catch. The box is lined with padded cream silk. The lining inside the lid has a gold emblem in the centre.The obverse has the words "LORD, SAVE US, WE PERISH". The reverse has the words "BRAMLEY-MOORE MEDAL FOR SAVING LIFE AT SEA" and "1872". Around the edge of the medal are the words "PETER CARMODY, FOR HAVING BEEN MAINLY INSTRUMENTAL IN RESCUING THE CREW OF THE BARQUE NEWFIELD, AUG 29 1892" The pin bar has the words “LIVERPOOL SHIPWRECK & HUMANE SOCIETY” written across it. The gold embossed emblem on the lid of the box has the words in the centre "SHIPWRECK AND …. …. ….FOUNDED 1839" The gold emblem on the cream silk lining has the words “BY APPOINTMENT ELKINGTON & CO” printed on it.medal, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, shipwreck coast, warrnambool, peter, peter carmody, carmody, bramley moore, newfield, liverpool shipwreck and humane society, 1892, 28 august 1892, august 1892, port campbell, bravery, shipwreck, rescue, nineteenth century, ship, curdie s river, victorian shipwrecks, barque, stuart bracken, norma bracken, gerard irvine, james mckenzie

Cubed iron ship tanks were invented by Richard Trevithich in 1808, in partnership with Robert Dickson, and the design was patented that year. The invention eventually replaced the wooden casks or barrels used at the time, as the ship tanks were more secure and their shape was much more economical in storage space. The robust metal tanks were originally made to transport water, but their preserving quality enabled them to transport perishable dry goods such as grain on long voyages, as well as other forms of liquid and solid cargo. The first ship tanks were made from sheets of iron, and later mild steel sheets, with double riveted edges and corners. A round cast iron lid with handle grips was fitted snugly into the top opening, providing an air-tight and water-tight seal. Brass taps were often fitted into the base, which could have been the case with this tank, but it now has a wooden bung in the hole. Sailing ships began using the new ship tanks on Australian voyages from around the 1830s, storing food and water for those on board, and filling them with other cargo. A large number of the ship tanks were repurposed in 1838 for the Victoria Settlement at Port Essington, N.T., as they were able to protect the food, clothing and other stores from termite and insect damage. Other ‘recycled’ ship tanks were cut in half and used as washing tubs or cookers. A 1929 catalogue from Hudson’s Tank Stores advertised square tanks that contained around 600 litres – 160 gallons – which equals an internal measurement of 33.25 inches – 84.5 centimetres – per side ship tanks are still made and sold in 1952 by the Globe Tank and Foundry in Wolverhampton, England, which was incorporated in 1922. Today, ship tanks can be seen around Australia. Wilsonson’s Promontory Lightstation has the lid from a ship tank that was used on site for the storage of water. Some have been repurposed as domestic water tanks and dog kennels, others for eucalyptus distilleries. Flagstaff Hill has two ship tanks. The Campaspe Port at Echuca, once a bustling river port, has a ship tank beside the locomotive yard. The lids of ship tanks are collectible items. Richard Trevithick (1771-1833): - Trevithick was born in 1771 in Cornwall, England. He was a famous British engineer and inventor during the Industrial Revolution, known for his invention of the first full-scale working railway, the high-pressure steam locomotive, which he demonstrated hauling a railway train in 1804. He set up a small workshop in 1808 at 72 Fore Street, Limehouse, London, to make iron ship tanks, and this invention was instrumental in replacing the wooden casks formerly used for storage on ships. He was involved with mining technology, iron foundry and ship equipment. Ship tanks changed the way that cargo was transported on ships and other vehicles from the 1830s and were used into the mid-20th century. The ship tanks’ advantages were that they could store more content, lasted longer, were waterproof and airtight, stackable and could be repurposed for many uses other than water, such as fuel, dry goods and domestic cargo. They have even been used aa dog kennels and cookers. Ship tanks were part of the evolving methos to transport water, food and cargo, which changed in 1956 when Malcolm McLean invented the large, rectangular shipping containers that are in use today; they speed up the process of loading on and off the ships, saving time and money. Ship tank: a cubed iron container with an offset hole on one side. The hole has cutouts for securely attaching a lid. This tank is on its side on the ground with the opening facing sideways. The side facing upwards has a wooden bung in a round hole. The ship tank is made from six square, thick iron sheets, rolled and riveted along the edges. The inside has a black sticky coating, possibly bitumen, and a strong creosote odour. There are small remnants of green paint on the outer surface.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, iron cube, water tank, shipping container, ship tank, ship's tank, ship tanks, marine container, richard trevithich, 1808, robert dickson, water transport, water storage, iron foundry, steel sheets, iron sheets, revets, victoria settlement, port essington, globe tank and foundry, wolverhampton, british engineer, british inventor, wooden casks

A tyre bender is used to bend and shape metal rims for wooden wagon wheels. This tyre bender’s model first appeared in the Day Bros catalogue in 1884 as the “Giant” model. The catalogue of 1883 only showed a lighter duty model called the “Lion”. It can be assumed that this later “Giant” model was a heavy duty improvement over the 1883 "Lion" and other smaller models which were still being advertised for sale in 1884. The Day Bros foundry, makers of this tyre bender, was operating as the manufacture of wheel right and blacksmith tools and general machinery in the 19th century in the USA and successfully exported their goods all over the world. Wagon tyre benders would have been very common circa 1850-1920, so there were probably many makers over the years. Early on, it would have become clear to the blacksmiths about which designs worked best so, eventually, the various makers would have made similar products to each other. This tyre bender was once used by Harry Goodall of H. Goodall & Sons Pty. Ltd. corner of McKinnon and High Streets, Terang. Victoria. Henry Goodall & Sons Henry Goodall (1870-1936) was proprietor of garages as H. Goodall & Sons Pty. Ltd., at both Terang (McKinnon and High Streets) and Mortlake (Dunlop Street). His business was in operation in at least in 1916 and perhaps well before, considering the date of the tyre bender and its use for wagons with wooden wheels. It was still in operation in 1953, chasing up debtors in Mount Gambier Court. Amongst the employees of H. Goodall & Sons Pty. Ltd. was Ernie Entwistle, a blacksmith (a soldier who died in 1916 ) and Alfred Hodgetts, radio expert (killed in a fatal accident in 1943, when he was in his early 30s ). Henry Goodall was involved in the community as a Justice of Peace, a deputy coroner, President of the Mortlake Hospital, trustee of the Soldiers’ Memorial Hall, and as a prominent Freemason. He and his wife had two sons (Charles and John) and one daughter (Mrs. Chas. Newton, of Skipton). The tyre bender is significant as it demonstrates how blacksmiths or wheelwrights could make new metal rims for wagon wheels for carts, wagons, stage coaches and carriages over a 135 years ago. The machine is a part of our social history as it demonstrates part of the process of making wagon wheels, which played an important part in aiding the continuation of daily transport needs that people had at the time, such as farming, personal transport and commercial activities. The machine or tool is locally significant as it was used by a local company in Terang and Mortlake in their blacksmith, wheelwright and garage business. Steel tyre bender mounted on timber base, used for wagon wheel steel rims. Made from cast iron and steel, double geared with four cogs to unite the upper and lower steel rollers. There are adjustable guide collars to keep the iron in line while it is being bent. It can also be used with two cranks for heavy duty work utilising the use to two operators. It is the Giant model, made in 1884 by Day Bros. of Philadelphia. This tyre bender once belonged to Harry Goodall & Sons, blacksmith's of Terang. Victoria. “DAY BROS. PHILAP. PA” cast into the side of machineflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, machinery, wagon wheel, wheelwrights, blacksmith, steel rim wheels, tyre bender, tire bender, the giant tyre bender, henry goodall (1870-1936), terang, wheelwright tool, blacksmith trade, blacksmithing equipment and supplies, wagon tyre bender, day bros. philadelphia pennsylvania, h. goodall & sons of terang, terang blacksmith, h. goodall & sons pty ltd, mortlake, ernie entwistle blacksmith, alfred hodgetts radio expert, charles goodall, john goodall, mrs. chas. newton nee goodall

This gas pipe fitting was one of a group of artefacts in the McCulloch Collection that were recovered from the shipwreck Loch Ard and were donated together. The fitting could have been from the ship's cargo or a ship’s fitting. Lamps from this era were fuelled by gas. There are other gas lamp fittings in our collection that were recovered from the Loch Ard The object is now one of the shipwreck artefacts in Flagstaff Hill’s Mc Culloch Collection, which includes items recovered from the wrecks of the Victoria Tower (wrecked in 1869) and Loch Ard (wrecked in 1878). They were salvaged by a diver in the early 1970s from the southwest coast of Victoria. Advanced marine technology had enabled divers to explore the depths of the ocean and gather its treasures before protective legislation was introduced by the Government. The artefacts were donated to Queensland’s Department of Environment and Heritage Protection (EHP) by a passionate shipwreck lover and their locations were verified by Bruce McCulloch. In 2017 the Department repatriated them to Flagstaff Hill where they joined our vast collection of artefacts from Victoria’s Shipwreck Coast. The Loch Ard: - The three-masted, square-rigged iron ship Loch Ard belonged to the famous Loch Line which sailed many ships from England to Australia. The ship was built in Glasgow in 1873. The Loch Ard made three trips to Australia and one trip to Calcutta before its final voyage. The Loch Ard left England on March 2, 1878, under the command of Captain Gibbs, bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo included straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that were intended for display in the 1880 Melbourne International Exhibition, including the famous Loch Ard Peacock. On June 1, 1878, Captain Gibbs was expecting to see land but visibility was reduced by fog. As it lifted, the sheer cliffs of Victoria's west coast came much closer than expected. The captain was unable to steer away and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck was loosened from the hull, the masts and rigging came down and knocked passengers and crew overboard, and even the lifeboat crashed into the side of the ship and capsized. Of the 54 people on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael. The well-packed Minton porcelain peacock also survived, safe inside its crate. Much of the cargo was washed up, smashed and broken, and some was salvaged. Other cargo is still with the wreck at the base of Mutton Bird Island, now protected by Government law. The artefact is an example of cargo or personal items on board a ship in 1878. It provides a reference point for classifying and dating similar items. This artefact is significant for its association with the sailing ship Loch Ard, one of the best-known, and one of the worst, shipwrecks in Victoria’s history. 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. It is historically significant for representing aspects of Victoria’s shipping history. Brass decorative gas lamp fitting. Two flat arms of different lengths are joined on either side of a fitting that has a fleur-de-lis-like design. The shorter arm has a J-shaped brass pipe fitted to it with a decorative threaded cube joint part way along, and ends with a triangular tap and knob. The longer arm is also J-shaped and ends with a feather design on it. There are remnants of green paint on the cube fittings and the knob. Recovered from the wreck of the Loch Ard.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, shipwreck artefact, wreck dive, mcculloch collection, bruce mcculloch, loch ard, 1878, loch line, victorian heritage register, sailing ship, captain gibbs, eva carmichael, tom pearce, mutton bird island, loch ard gorge, migrant ship 1878, cargo ship 1878, lamp fitting, gas lamp fitting, ship’s fitting, ship’s lamp, brass lamp fitting, lighting, domestic lighting, ship’s lighting

This magnetic compass is a good size to fit easily into a person's pocket or personal luggage and is protected from knocks by its wooden case. It could have been used for reference when travelling on land or sea. There is no visible manufacturer's mark, which may mean that it was not of high monetary value. Leith is a district of Edinburgh in the country of Scotland, the U.K. It was once the Port of Edinburgh and many migrant ships departed from here bound for the Australian colony. It had a busy shipbuilding industry, with wet and dry docks. It appears from the inscription on the case "Chas Gray, LEITH, 1839" that this pocket compass once belonged to Charles M. Gray (Chas is a common abbreviation for the name Charles). The inscription coincides with the name, place and date that the Western Victorian pioneer Charles M. Gray left Scotland and arrived in Australia. Charles Gray was born in Anstruther, Scotland, in 1818. His family was connected with the Royal Marines, which may have created his nautical instruments such as this pocket compass. Charles Gray arrived in Hobson's Bay on 15 June 1839 on the ship “Midlothian”. That same ship had departed from Leith, Scotland on February 15th 1839. Did Charles Gray acquire the pocket compass in Leith, perhaps as a gift or a souvenir of his motherland? Charles Gray was an early squatter and went on to become a very successful settler as a sheep pastoralist in the Western District of what is now Victoria (originally the colony of New South Wales). He and his wife had a large property called “Nareeb Nareeb”, Green Hill Creek District (now Glenthompson), Victoria, from 1840-1886. He was also a local Councillor and Justice of the Peace, and had an interest in the local indigenous people; he named his property after their tribe. Charles returned to England in 1890 and died there in 1905. Charles Gray had written an account in 1890 of his life at Nareeb Nareeb, called Western Victoria in the Forties: "REMINISCENCES OF A PIONEER The Western District in the 1840's By Charles Gray" , a valuable historical reference to colonial Victoria. His book was published by the Hamilton Spectator in 1932. Charles Gray's photograph is one of 713 historical photographs of early Victorian settlers, created as a montage by Thomas Foster Chuck in 1872. The State Library of Victoria holds the framed montage titled “The Explorers and Early Colonists of Victoria”. To qualify for inclusion on this montage the Settlers must have arrived in Victoria before 1843. Charles Gray's photograph is number 349! The pocket compass is associated with Charles Gray, one of the early squatters and settlers in Western Victoria, possibly given to him as a parting gift on his emigration to Van Diemans land in 1839. The item is very significant as it's connection with one of Victoria's early pioneers is well provenanced by the inscriptions on the wooden case. Pocket compass, brass, set into a square wooden case with hinged lid and small hook catch. Compass is marked with 360 degrees and compass points and has two pointers; one to show magnetic north and one to set the direction of travel. Hinges are triangular and inset into the wood. The lid has an attached brass plaque with the inscription "Chas Gray, Leith, 1839" (It likely belonged to Charles Gray, Leith, UK, who migrated to Port Philip Australia in 1839 and became a successful pastoralist.) “Chas Gray / LEITH / 1839” engraved on brass plaque on lid.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, magnetic compass, pocket compass, charles m. gray, chas gray, migrrant from leith 1839, charles gray anstruther, scottland, ship midlothian 1839, squatter western victoria, settler western victoria, hobson's bay port phillip australia, charles gray nareeb nareeb - green hill creek district, western victoria in the forties: reminiscences of a pioneer by charles m. gray 1890, leith edinburgh u.k., western victoria in the forties: reminiscences of a pioneer - montage by thomas foster chuck 1872, charles gray, reminiscences of a pioneer, the western district in the 1840's, compass, scientific instrument, nautical instrument, direction, directional compass, navigation

This handmade, aqua glass ink bottle's design is sometimes called a ‘boat’ shape. The base was mouth-blown into a rectangular mould, evidenced by the lack of seams, the pontil, crease lies and the uneven thickness of the glass. The shoulder section was mouth-blown into a two-piece mould and then cut off from the blowpipe. The lip is sometimes referred to as a 'burst-lip, which was often filed to be smooth. This method of making bottles was often used in the mid-to-late 19th century. The bottle would then be filled with ink and sealed with a cork. More expensive bottles would have a lip added, which was more time-consuming and costly. The capacity for a bottle such as this was about 3 ½ oz (ounces) equal to about 100 ml. Pens are a common item for that period. Pen and ink have been used for handwriting since about the seventh century. A quill pen made from a bird’s feather was used until the mid-19th century. In the 1850s a steel point nib for the dip pen was invented and could be manufactured on machines in large quantities. The nis only held a small amount of ink so users had to frequently dip the nib into an ink well for more ink. Handwriting left wet ink on the paper, so the blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased as a ready-to-use liquid or in powdered form, which needed to be mixed with water. In the 1880s a successful, portable fountain pen gave smooth-flowing ink and was easy to use. In the mid-20th century, the modern ballpoint pen was readily available and inexpensive, so the fountain pen lost its popularity. However, artisans continue to use nib pens to create beautiful calligraphy.The ink bottle is of interest, being made of aqua glass rather than the more common clear glass. This set of ink bottles and pens is significant because of the bottle's method of manufacture, which is representative of a 19th-century handcraft industry that has now been largely replaced by mass production. The bottle and pens are historically significant as tools used for handwritten communication until the mid-20th century when fountain pens and modern ballpoint pens became popular and convenient and mechanical typewriters became part of standard office equipment.Victorian 'Boat' ink bottle, small rectangular, aqua glass ink bottle with grooves along the long sides for pen rests. The base has a pontil, no seams, and the glass is uneven in thickness. The shoulder has two side seams and there is a ridge where it is joined onto the base; there are round indents on each of the shoulder, on the short sides, four in all. The mouth has rough edges. The neck leans to one side. The glass has impurities, crease lines and bubbles. There is dried ink in the bottle. Two pens with metal nibs are included with the ink bottle. flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ink, nib pen, writing ink, writing, copying, banks, lawyers, commerce, student, permanent ink, stationery, record keeping, handwriting, writing equipment, writing accessory, office supply, cottage bottle, boat bottle, mouth-blown bottle, two-part mould, sheer-lip bottle, burst-lip, cork seal, copy ink, aqua glass

This design of ink bottle or ink well was commonly referred to as a ‘penny ink well’ because it was very inexpensive to produce. It is also known as a dwarf bottle. Pen and ink has been in use for hand writing from about the seventh century up until the mid-20th century. Up until around the mid-19th century a quill pen made from a bird’s feather was used. In the 1850s the steel point pen was invented and could be manufactured on machines in large quantities. In the 1880s a successful portable fountain pen was designed, giving a smooth flowing ink and ease of use. Ink wells, used with steel nib dip pens, were commonly used up until the mid-20th century. The pens only held a small amount of ink so users had to frequently dip the nib of the pen into an ink well for more ink. Hand writing with pen and ink left wet writing on the paper, so blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased, ready to use, or in the powdered form, which needed to be mixed with water. After the invention of fountain pens, which had a reservoir of ink, and then ballpoint pens, which also had ink that flowed freely, the dip pen was slowly replaced. However, artisans continue to use nib pens to create beautiful calligraphy.This ink well is historically significant as it represents methods of hand written communication that were still common up until the mid-20th century, when fountain pens and ballpoint pens took over in popularity and convenience.Ink bottle or ink well, sometimes called a Penny Ink Well. Cylindrical body, salt-glazed, brown ceramic stoneware bottle, handmade. Stoneware bottle. flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, great ocean road, shipwreck artefact, writing equipment, writing accessory, office equipment, stationery, domestic, stoneware, clay, ceramic, pottery, ink well, inkwell, ink bottle, penny ink well, nib pen, dip pen, ink, hand writing, record keeping, household, business, vintage, blotting paper, dwarf bottle

The design of the bottle is sometimes called a ‘cottage’ or ‘boat’ shape. This handmade glass ink bottle was mouth-blown into a two-piece mould, a method often used in the mid-to-late 19th century. The glass blower burst the bottle off the end of his blowpipe with a tool, leaving an uneven mouth and sharp edge on the bottle, which was usually filed. The bottle was then filled with ink and sealed with a cork. More expensive bottles would have a lip added, which was more time-consuming and costly to produce. The capacity for a bottle such as this was about 3 ½ oz (ounces) equal to about 100 ml. Pen and ink have been in use for handwriting since about the seventh century. A quill pen made from a bird’s feather was used up until around the mid-19th century. In the 1850s a steel point nib for the dip pen was invented and could be manufactured on machines in large quantities. The nis only held a small amount of ink so users had to frequently dip the nib into an ink well for more ink. Handwriting left wet ink on the paper, so the blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased as a ready-to-use liquid or in powdered form, which needed to be mixed with water. In the 1880s a successful, portable fountain pen gave smooth-flowing ink and was easy to use. In the mid-20th century, the modern ballpoint pen was readily available and inexpensive, so the fountain pen lost its popularity. However, artisans continue to use nib pens to create beautiful calligraphy.This ink bottle still retains its original cork. The method of manufacture is representative of a 19th-century, handcraft industry that is now largely replaced by mass production. The ink bottle is historically significant as it represents methods of handwritten personal and business communication that were still common up until the mid-20th century when fountain pens and modern ballpoint pens became popular and convenient and typewriters were becoming part of standard office equipment.Victorian 'boat' shaped ink bottle; small rectangular clear glass ink bottle with grooves in shoulders for holding pen. Bottle has side seams and a 'burst-lip'. The bottle retains its cork.flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ink, nib pen, writing ink, writing, copying, banks, lawyers, commerce, student, permanent ink, stationery, record keeping, handwriting, writing equipment, writing accessory, office supply, cottage bottle, boat bottle, mouth-blown bottle, two-part mould, sheer-lip bottle, burst-lip, cork seal, stencil ink, copy ink

John Bliss (1795-1857) was born in Connecticut, trained as a silversmith and clock maker in Vermont, and began in business as a jeweller in New York around 1830. In 1834, now trading as Bliss & Creighton, he made and marketed chronometers and other items for navigational use. The firm became John Bliss & Son in 1855 and John Bliss & Co. in 1857. It remained in business until 1957. Truman Hotchkiss, a sea captain from Stratford, Connecticut, designed a mechanical Taff rail log in which the recording mechanism was placed on taffrail (or upper part of the stern) of the ship. After acquiring the rights to Hotchkiss’s patents of 1864 and 1867, John Bliss & Co. began advertising the "American Patent Taffrail Log." The firm also offered mechanical logs based on patents granted to John Bliss, Jnr and his brother George, as well as English instruments based on Massey’s and Walker’s patents.The SPECULANT is historically significant as the largest ship to have been registered in Warrnambool, and is believed to have been the largest barquentine to visit Melbourne. It is evidence of the final days of large commercial sailing vessels involved in the Victorian and New Zealand timber trade. The SPECULANT is listed on the Victorian Heritage Register VHR S626John Bliss Taffrail ship log incomplete, rope and spinner missing used on the vessel "Speculant " ( See "Notes" at the end of this document for further information) "Taffrail Log Patented Nov .. Apr .. June .. Sep 1.", dial registers 1/4, units and 10's. with 3 sets of dials, 2 with hands missingflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, la bella, speculant, cumming and ellis, international timber trade, p. j. mcgennan and co. warrnambool, capt. james jacobsen, first mate: james munro, second mate: john scerling;, cook: b bond; a. b., s: v. sundring, s: h. hansen, s: b. melson, s: h. johnston, s: t. trumblen;, ordinary seaman: r. thompson, cape patton, c. ramsden, log, taffrail ship's log, ship log, john bliss, patent log, peter mcgennan

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

This item of underclothing, called a "combination" is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. Although they were worn under the corset, next to the skin (and therefore not meant to be seen), they were often decorated with lace and embroidery. Although these combinations are made with a plain cotton fabric, Eliza Towns has incorporated pin tucks, hand embroidery and crocheted lace to embellish her garment. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear.Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has three buttons in the front and a handmade drawstring cord around the square neckline. It is trimmed with crocheted lace (with a floral design) on the neckline, sleeves and pants. It had pintucks and feather stitching on the bodice and the left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, 19th-century undergarment, handmade clothing, handmade lace, crocheted lace, towns family, nhill, eliza towns

A steam boiler like this late 18th century boiler, is often called a colonial boiler. Steam boilers were used in factories throughout Australia, mounted over similar designs of brick furnaces. This heat from the fire travels through the tubes in this fire tube boiler and the water heats as it circulates around them. Another kind of boiler is a water tube boiler, in which the water is inside the tubes and the heat of the combustion surrounds the tubes. The boiler in our collection burned wood as fuel but others of this design could also burn coal, coke, gas and liquid fuels. The boiler was made by T & F Johnson, boilermakers. In 1922 their factory was located at Coventry Street, South Melbourne. They were still advertising their 'Colonial, multi, vertical boilers, all sizes' at the same address in 1934. The connected pressure gauge, made in London by Dewrance, measures 0 to 400 pounds per square inch. John Dewrance is renowned as a pioneer of the steam locomotive in the early 19th century. He founded John Dewrance & Co. in South London in 1844. His son Sir John Dewrance took over in 1879. In 1939 the company became a subsidiary of Babcock & Wilcox, and was eventually owned by Emerson. How the boiler works: - A boiler is about two-thirds filled with water and heat is applied, in this case in the form of burning wood. The heat is transferred through the metal of the boiler to the water. When the water boils the steam rises to the top, and as it escapes from the boiler the steam pressure builds up in the steam space to later be released to do work; drive machinery such as ship and train engines, turbines, presses, wheels, and driving belts to operate looms and saws. The heat associated with the boiler can be used for preserving food, sterilising, factory manufacturing processes, and steaming wood for shipbuilding. Every boiler has several components fitted for safe operation: - - Safety valves - Gauge glass - Pressure gauge - Main steam stop valve - Water check valve - Blowdown valve - Manhole doorThe boiler is a significant item that gives us a snapshot of early Melbourne's industrial history. It is an example of the technological advancement during the Industrial Revolution where steam-driven machinery and motors could perform tasks more efficiently than manual labour. The makers were one of many boilermaker businesses in Melbourne during the early late-19th andearly 20th centuries. The maritime trade and skills of boilermaking are still learned and applied today. The Dewrance steam pressure gauge connected to the boiler was made by the London firms foundered by John Dewrance. He was renowned for developing the steam locomotive in the early 19th century.Boiler; a horizontal cylindrical underfired steam boiler. It is a multi-tubular design and is timber plank-clad, with brass fittings and pressure gauges. The boiler has an iron door at one end with a metal chimney above it. It is installed over a brick-enclosed solid fuel furnace. Two large, wood-mounted pressure gauges are connected to the boiler and have inscriptions. An inscription is on a red, cast iron plaque above the boiler door. The boiler's maker is T & F Johnson, South Melbourne. One of the pressure gauges was made by Dewrance, London..Maker's plate: "T & F JOHNSON / BOILERMAKERS / SOUTH MELBOURNE" Pressure gauge: "POUNDS PRESSURE / PER [square] INCH / DEWRANCE LONDON"flagstaff hill, warrnambool, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, boiler, multi tube boiler, steam boiler, steam technology, underfired boiler, horizontal boiler, timber clad boiler, steam power, industrialisation, boilermakers, south melbourne, dewrance, john dewrance, pressure gauge, dewrance pressure gauge, t & f johnson, london, steam engine, steam locomotive, pounds per square inch, 19th century, steam machine, johnson tyne foundry, colonial boiler, fire tube boiler

The striking fabric of this wall hanging was recovered from the sinking Schomberg. It was originally one of the many curtains adorning the captain’s cabin and ladies’ saloons that attracted first-class passengers to this luxury vessel, built for comfort and speed. The clipper ship was on its maiden voyage, full of passengers emigrating to Australia in 1855. Its commander was Captain James Nicol Forbes, who had been selected by James Baine & Co for his navigation skills, experience, and reputation for breaking sailing records. However, on December 26th, 1855, the vessel became stranded and sank west of Cape Otway, not quite reaching its destination of Melbourne. A reporter explored the Schomberg before its journey; the following detailed description is an excerpt of his article published in a newspaper after the disastrous voyage was announced. “ … descending by a flight of stairs, covered with carpet of a very rich pattern, we came to the saloon passengers’ cabin. This is a noble place, and all that refined taste would suggest has been done to make each berth a miniature palace. The bedding is of the very best material, and the fittings are replete with every convenience. The carpets are of various coloured velvet pile, and the curtains are of satin damask, lined with white satin … The fronts of the berths are highly decorated, and festoons of flowers are painted on the panels … No two berths are furnished with the same-coloured material … the visitor is, therefore, much pleased with the variety which he has to inspect….” (Trove: Shipping Gazette and Sydney General Trade, 31 Dec 1955, p. 283) The curtain material, ‘folded into a single piece and parcelled for protection’, has been passed down through generations of Captain Forbes’ relatives, starting with his half-sister Isabella Jeffrey Nicol. The curtain has remained with the family, although some transition details are incomplete. About a century later, Isabella and Blakiston Robinson’s great-grandson and his wife had the fabric professionally mounted as a wall hanging to showcase the beauty of the woven brocade. Eventually, the custodianship of the curtain was transferred to the donor, who is also a great-grandson of Isabella and Blakiston. He and his wife hung the curtain on the wall of a high-ceilinged room in their home, away from direct light, making it visible for all to appreciate its beauty and significance. In 2024, they donated the curtain for inclusion among the collection of artefacts that help tell the story of the Schomberg and those who sailed on its first and last voyage. The donor’s aunt was highly involved in the family’s history. She had collected and recorded information that dates back to pre-1341. A footnote included in a handwritten letter dated April 20, 1959, from the late Arthur William Rudd, OBE, MA, LLB, husband of another of the donor’s aunts, states, “The curtains you mentioned came from the Schomberg. AWR.” CAPTAIN JAMES NICOL FORBES (1821-1874) and the donor’s family: - Captain Forbes was born in Aberdeen. In his late teens, he moved to Liverpool, a hub for international trade and an emigration port. By the age of 25, he was master of the Prince of Waterloo and later, the Wakefield. He then commanded the Cleopatra for the James Baines Co., which, two years later, transferred him to command the Maria, providing fast and lucrative passage to the gold fields in Ballarat, Australia. James Baines Co. and shipbuilder Thomas Mackay formed the Black Ball Line of clipper ships in 1852. Forbes was appointed master of the largest ship in the fleet, the marvellous Marco Polo. He broke the record time for the passage to Australia, taking only 68 days at sea, and the return journey in only 76 days, a total of 5 months and 21 days. On his second voyage to Melbourne in the Marco Polo the following year, he took 75 days, and 95 days on the return trip. His accomplishment made him famous. James Baines reported that the Marco Polo was the only ship, sail or steam, to do the round trip within 6 months, and it had done it twice. Captain Forbes then took command of the American-built clipper Lightning, one of four built for the Black Ball line. His 19-year-old half-sister, Isabella Jaffray Nicol, was also onboard when he sailed for Melbourne in 1854. During the 77-day voyage, Isabella met Blakiston Robinson, and not long after the ship arrived in Melbourne on July 31, the couple married, with James Nicol Forbes as a witness, on August 16. When Forbes returned to Liverpool, he took a record-breaking 63 days, which has never been bettered. James Baines Co. ordered a new luxury emigrant ship from Alexander Hall of Aberdeen; the Schomberg was the largest sailing ship ever built in Britain. On October 6, 1855, the vessel departed Liverpool commanded by Captain Forbes, with 430 passengers on board, 54 of whom were First Class. It had almost completed its voyage to Melbourne when, on the night of December 26, it ran aground west of Cape Otway. Captain Doran, master of the steamer Queen, responded to the distress signal while on its way to Portland and, with the agreement of his passengers, rescued as many as possible from the Schomberg and returned to Melbourne with them. Captain Helpman, master of the steamer Champion, rescued most of the remaining Schomberg passengers on December 27. On Friday, 28th, Captain James Lawrence was on his way to Adelaide in the steamer Burra Burra, and called past the Schomberg. He reported that the remaining crew were all doing their duties, but the Schomberg was deteriorating on a sand spit and had about 16 feet of water in its hold. That same day, the schooner Jane Elizabeth collected 220 packages of passengers’ luggage to deliver to Melbourne on the 29th. Two steamers also arrived on the 29th with 20 men to collect passengers’ luggage and valuable ship’s cargo items. They were accompanied by water police, customs agents, company representatives and a Lloyds agent. The decision was made to abandon ship on the 30th due to rough and unsafe conditions. The officials and Captain Forbes voyaged to Melbourne, while the seamen remained behind awaiting rescue. Evacuation by sea became too risky, so on January 2, 1856, while the first Mate and Steward remained at the wreck site, the rest of the crew began the 70-mile march to Warrnambool, led by the band. They arrived on January 5th and left for Melbourne on the steamer Champion on January 10th. Parts of the Schomberg wreck ended up in New Zealand. The curtain is important for its connection to the Schomberg, which was unique for being designed and built in Aberdeen, and commanded by an Aberdonian who was the most celebrated clipper captain of the age. The ship was the largest sailing ship ever built in Britain, and reported as the largest vessel that sailed to Australia. The curtain is an example of the rich decorative furnishings available in 1855. The preservation and respect the donor and his family have shown towards the curtain over many decades reflect its important role in telling the family’s history; the journey, the romantic attachment, the family connection to the sea, and travel in gold rush times. The curtain is significant for its connection to James Nocol Forbes, a famous sailing ship commander who broke several sailing records, one of which has never been bettered. This wall hanging, also known as the Schomberg Curtain, was created from a curtain recovered from the stranded luxury ship Schomberg in December 1855. The woven satin damask fabric in blue and cream has been meticulously joined to blend the intricate pattern. The reverse features a soft cream lining. The hems at the top and bottom of the fabric hold wooden rods. The side edges feature decorative braid that has been hand-stitched in place. On the reverse, the bottom hem includes the same braid, which remains unseen from the front, and the centre of the top hem has a hand-worked, unused buttonhole. Each of the hems varies in depth. The curtain was tastefully mounted later to highlight the beauty of the original saloon curtain. A decorative twisted cord of cream silk threads, accented with gold highlights and decorative tassels, was coiled and attached to the ends of the top rod. The elegant display was completed with an ornate gold hook, chosen to complement the wall hanging.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, shipwreck artefact, memorabilia, curtain, saloon curtain, schomberg, wall hanging, decorative object, domestic item, warrnambool, flagstaff hill, maritime museum, maritime village, maritime history, shipwreck, stranding, schomberg curtain, schomberg wall hanging, luxury ship, 1855, damask, silk damask, blue and cream, captain’s cabin, ladies’ saloon, clipper ship, migrant, emigrant, liverpool to australia, captain james nicol forbes, james forbes, captain forbes, bully forbes, james baines & co, james baines, cape otway, aberdeen, prince of waterloo, wakefield, cleopatra, maria, thomas mackay, black ball line, marco polo, sailing record, lightning, isabella jaffray nocol, blakiston robinson, alexander hall, steamer queen, captain helpman, james lawrence, steamer burra burra, steamer jane elizabeth, water police, customs agents, lloyds agent, ship’s band, walk to warrnambool, march to warrnambool, steamer champion, agnes nicol robinson, arthur william rudd obe ma llb

This Dollond Day or Nigh telescope was designed to be used in any light conditions, as its name implies. Telescopes are optical instruments designed to make objects appear to be larger or closer. The discovery of the first telescope in 1608 can be attributed to Hans Lippershey of the Netherlands when he discovers that holding two lenses up some distance apart bring objects closer. He applies for a patent on his invention and this becomes the first documented creation of a telescope. Then in 1668, Newton produces the first successful reflecting telescope using a two-inch diameter concave spherical mirror. This opened the door to magnifying objects millions of times far beyond what could ever be obtained with a lens. It wasn’t until 1729 that Chester Moor Hall develops an achromatic lens (two pieces of glass with different indices of light refraction combined produce a lens that can focus colours to almost an exact point resulting in much sharper images but still with some distortion around the edges of the image. Then in 1729 Scottish instrument maker James Short invents the first parabolic and elliptic, distortion-less mirror ideal for reflecting telescopes. We now come to John Dollond who improves upon the achromatic objective lens by placing a concave flint glass lens between two convex crown glass lenses. This had the effect of improving the image considerably. Makers Information: John Dollond (1707-1761) London England he was a maker of optical and astronomical instruments who developed an achromatic (non-colour distorting) refracting telescope and practical heliometer. A telescope that used a divided lens to measure the Sun’s diameter and the angles between celestial bodies. The son of a Huguenot refugees Dollond learned the family trade of silk weaving. He became proficient in optics and astronomy and in 1752 his eldest son, Peter joined his father in an optical business, in 1753 he introduced the heliometer. In the same year, he also took out a patent on his new lenses. He was elected a fellow of the Royal Society in May 1761 but died suddenly in November and his share in the patent passed to his son Peter. In subsequent squabbles between Peter and the many London opticians who challenged his patent, Peter’s consistent position was that, whatever precedents there may have been to his achromatic lenses, his father had independently reached his practical technique on the basis of his theoretical command of Newtonian optics. As a result of maintaining his fathers patent, Dollond s became the leading manufacturer of optical instruments. For a time in the eighteenth and nineteenth century the word 'Dollond' was almost a generic term for telescope rather like 'Hoover; is to vacuum cleaner. Genuine Dollond telescopes were considered to be amongst the best. Peter Dollond (1731-1820) was the business brain behind the company which he founded in Vine Street, Spitalfields in 1750 and in 1752 moved the business to the Strand London. The Dollonds seem to have made both types of telescopes (reflecting and refracting), possessing the technology to produce significant numbers of lenses free of chromatic aberration for refracting telescopes. A Dollond telescope sailed with Captain Cook in 1769 on his voyage to observe the Transit of Venus. Thomas Jefferson and Admiral Lord Nelson were also customers of the Dollonds. Dollond & Co merged with Aitchison & Co in 1927 to form Dollond & Aitchison, the well-known high street chain of opticians, now fully part of Boots Opticians. They no longer manufacture but are exclusively a retail operation.    John Dollond's experiments in optics and how different combinations of lenses refract light and colour gave a better understanding of the divergent properties of lenses. That went on to inform and pave the way for the improvement of our understanding of optics that is represented today. Dollond was referred to in his time as the "Father of practical optics" as a leader in his field he received many prestigious awards. The telescope in the collection is a good example of one of Dollond's early library telescopes. Its connection with one of England's 18th century pioneers in optical development makes it a significant and an important item to have within the collection.Telescope: Dollond's Telescope, Day or Night model navigational instrument. Telescope is mounted on wooden tripod stand that has folding legs. Brass telescope with leather sheath over barrel, adjustable angle fitting with brass wing nuts that join the legs to the top frame, which is then joined to the telescope pole by an adjustable screw fitting. Manufactured by Dollond, London. Inscription reads "Dollond London, Day or Night" and "DOLLOND LONDON"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, telescope, dollond, dollond london, day & night telescope, floor-standing telescope, optical instrument, john dollond, peter dollond, achromatic telescope, heliometer, light refraction, instrument maker, lens, transit of venus, astronomical telescope, concave lens, library telescope, dollond telescope, day or night, day or night telexcope, scientific instrument, navigation, navigational instrument, astronomy

The items in this collection of Ecclesiastical Linen were used by St. Andrews Anglican Church on the corner of the Esplanade and 14 Drummond St, Dennington, Victoria. The first Anglican service was conducted on December 22nd, 1907. The church was decommissioned in January 2003. The items donated include Maniples, Chalice Covers, a Goblet Cover, Altar Cloths, Matts, Priest's scarf, armband and sashes, and a bag that is a cover for the Baptismal Towel. HISTORY OF ST ANDREWS, DENNINGTON The land on which St Andrews Church was built in Dennington was surveyed in the 1840s and reserved for church purposes in 1855. In 1889 the Farnham Dairy factory relocated to Dennington and the town began to grow as involvement in the dairy industry increased in the area. In 1896 plans for a church hall on the reserved land were considered and on 22nd December 1907, the first Anglican Service was conducted in Dennington, with 60 people attending. In August 1909 the first building was opened with a midweek evening service conducted by the Rev. J.A. Coe. The Sunday School was opened the following year. In that same year, Nestle took over the Farnham dairy plant. On December 20th, 1914, a new church was opened in memory of Andrew Peacock, who passed away in 1912. The funds had been raised by the community and 150 attended the morning service. The building was described as a simple edifice with a plain exterior and high, wide pointed windows, and a comfortable porch entrance, all of which gave a pleasing impression of light and space. In 1935 the average attendance for morning services was just over 22 people. In 1936 extensive repairs and replacements were carried out. In 1947 the first recorded Pastoral Festival took place and in the same year, a Ladies Guild was formed. In 1954 water services were connected to the church building. Many items of furniture, furnishings and books were donated over the life of the church, including handworked linen items. Further items were added due to the work of the Ladies Guild, as well as donations in memory of church and community members.These items of Ecclesiastical Linen are significant as examples of handworked embroidery and drawn-thread work from the early 20th century. They are also examples of a collection of items used for church services during this period. The Ecclesiastical Linen is also significant for its association with the early development of the local township of Dennington and the importance of setting aside land in the 1850s for the purpose of religious worship. The Ecclesiastical Linen is also significant for its connection to St Andrews Anglican Church, Dennington. The church was funded and attended by the local community in the early 1900s and is now listed on the Victorian Heritage Database (VHD 118083) as a building of historical and social significance. Set of Ecclesiastical Linen. The items were once used in St. Andrew's Anglican Church, Dennington, Victoria, between the years 1907 and 2003. All of the handmade items are in white fabric. Some also have embroidered emblems, tassels and drawn-thread work. White embroidery thread has been used for most of the decorated items, with the following exceptions, which have been embroidered with coloured thread; the communion linen, the Priest's scarf, armband and sash, the altar cloths, mats and a cover for the baptismal towel. Two items have hand written inscriptions.(See individual objects for details)flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, st andrews anglican church dennington, dennington church, warrnambool church 1907, ecclesiastical linen, linen for religious service, communion linen, priest's sash, baptismal towel, maniple, eucharist, emblem of rope and cross, embroidered religious cloths, embroidered celtic cross, drawn thread, chalice covers, handmade linen, embroidered linen, stylised cross, the english church, ladies guild dennington, nestle, farnham dairy, andrew peacock, victorian heritage register vhr 118083, hand worked linen, handworked embroidery, j.a. coe

Cast iron stoves burn solid fuel such as wood or coal, and are used for cooking and warmth. The stoves have a firebox with a grate where the fuel is burned. The hot air flows through flues and baffles that heat the stove top and the oven. Before cast iron stoves were invented, cooking and heating were carried out in outdoor open fires, and later, in fireplaces inside the home. In 1642 the first cast iron stove was manufactured in Lynn, Massachusetts, where molten cast iron was poured into a sand mould to make rectangular plates that were then joined together to make a box. Benjamin Franklin invented the more efficient Pennsylvania stove in 1744, and this efficient design is still used today. After the mid-19th century cast iron stoves were produced with burners in different positions, giving varied temperatures, so a wide variety of foods could be cooked at the same time at the most suitable heat, from slow cooking to baking scones. In contemporary times people the new wood-burning stoves had to meet the anti-pollution standards now in place to protect our environment. By the 1920s gas cookers were being introduced for domestic use, and by the 1930s electric home cookers were being offered to householders. PLANET STOVES In August 1925 the firm Cox and Rizzetti, Stove Works, and also Sydney Road, South Melbourne, advertised in the Brunswick and Coburg Leader of November 11, 1925 as "formerly with Harnwell and Sons" and as "specialists in solid cast iron Planet stoves ... which merit an inspection from builders and householders". The firm continued in business and was mentioned as sponsors in the King Island News in 1971. Harnwell and Sons was listed in the Victorian Government Gazette of 1894. It is curious that the firm was mentioned in an article in the Sunrasia Daily of June 14, 1934 titled 'Planet Stoves' as a manufacturer of Planet Stoves. This Planet No 3 stove is an uncommon example of cooking equipment used in kitchens in the early 20th century, as the firebox is above the oven rather than beside it. The cast iron combustion stove is significant as part of the evolution of domestic cooking. Previously cooking was mostly carried out in outdoors in open fires, and later in fireplaces indoors. Cast iron stoves are still used today and have additional features such as thermostats to monitor and maintain temperature, water heating pipes connected, and environmentally approved anti-pollution fittings. Stove; a compact, blackened cast iron combustion cooker, installed within a fireplace and enclosed by bricks on both sides. The upright rectangular stove has a flat top with three round, removable cook plates and a flue connected at the back. The front has three doors with round knob handles; a swing-down firebox door above a sliding ashtray, and two side-hinged oven doors above a sliding opening. Inside on the side walls are two pairs of runners. Behind the pair of doors is an oven with two pairs of rails and two removable metal shelves. The stove has cast inscriptions on the chimney flue and on the front of the right hand side stove door. The model of the stove is The Planet No 3, made in Melbourne.Chimney flue, "[within rectangle] THE / PLANET" Stove door, "(within oval) PLANET / No 3"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, stove, cast iron stove, combustion stove, wood-burning stove, wood stove, wood oven, solid fuel stove, cooker, the planet, planet, planet no. 3, kitchen equipment, baking, domestic cooking, cooking equipment, food preparation, planet stove, planet cooker, cooking range, slow combustion stove, antique, range cooker, cox and rizzetti, harnwell and sons, melbourne manufacturer

This Flying Angel lamp bracket was recovered from the wreck site of the steam sailing ship, "Loch Ard", which sank near Port Campbell, Victoria in 1878. It formed part of the ship's cargo. The 'flying angel' lamp was, for a time, displayed in the St Nicholas Seamen's Church at Flagstaff Hill. The design was very appropriate to the Missions to Seamen, being associated with the emblem of the 'flying angel' on the Missions' to Seamen's flag. Brief history of the Loch Ard: The vessel Loch Ard was constructed on the Clyde River in Scotland 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.” The lamp bracket is significant for its connection with the wreck of the sailing ship, Loch Ard, in 1878. 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. Gas lamp, brass, single burner, wall-mounting bracket, delicately crafted. Ornate decoration features bust of an angel with up-swept wings, or 'flying angel'. Recovered from the wreck of the Loch Ard.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, lamp fitting, shipwreck artifact, 1878, shipwreck cargo, household effects, 19th century lighting, angel lamp, loch ard lamp, angelic lamp, lighting at sea, marine technology, ship's lighting, flying angel, gas lamp, maritime archaeology, port campbell

The Edison Fireside Phonograph Combination Type A model phonograph was an open horn model. This machine was produced around 1909, just after the introduction of 4-minute record cylinders in 1908.; the selection lever on the front was either 4 or 2-minute choice. This Fireside model has a fluted octagonal horn that attaches to the reproducer on the machine and is suspended by on ring by a horn crane attachment. The phonograph machine is powered purely by mechanical means, winding the crank handle on the side of the machine to start the belt-driven, spring-loaded motor inside. The sound comes from a pre-recorded, vertical cut record cylinder, which slides over the Mandle, a smooth rotating drum. The reproducer, an all-in-one needle, amplifier and speaker, is lowered onto the cylinder, the needle picks up the sound and plays it on the speaker and the attached horn amplifies the sound. The phonograph machine was invented by Thomas Alva Edison in the late 19th century. Edison adopted the idea from the technology of the telegraph machine. He patented the phonograph in early 1878. It was able to record sound and play it back. This amazing invention opened up a whole new world of entertainment, where wax cylinders of pre-recorded sound could be purchased with a wide variety of music and played over and over. The first wax cylinders were white and used a combination of bees' wax and animal fax or tallow. By 1892 Edison was using 'brown wax' cylinders that ranged from cream through to dark brown. The Edison Phonograph Company was formed in 1887 to produce these machines. He sold the company in 1855 to the North American Phonograph Company but bought that company in 1890. He then started the Edison Spring Motor factory in 1895, and the National Phonograph Company in 1896. In 1910 the company became Thomas A. Edison Inc. In 1898 Edison produced the Edison Standard Phonograph, the first phonograph to carry his own trade mark. He began mass producing duplicate copies of his wax cylinders in 1901 using moulds instead of engraving the cylinders. The wax was black and harder than the brown wax. The ends of the cylinders were bevelled so that the title's label could be added. The last phonograph machine to use an external open horn was produced in 1912 due to the much more robust round records being invented. In 1913 Edison started producing the Edison Disc Phonograph. The company stopped trading in 1929.This Edison Fireside Phonograph model is significant for being one of the last models to have an external horn. It is also significant for its connection with the invention of the phonograph, which made music and sound available for domestic enjoyment. It was used for entertainment and education, even teaching languages. It signalled a new era of music that could be reproduced and played anywhere. It is also significant for its short time span of popularity, just a few decades, due to the growing use of records, which gave a much higher quality sound and were more robust.Phonograph; Edison Fireside Phonograph, Combination Type, Model A. It is in a wooden case with a domed lid, metal catches on each side and a folding wooden handle. It has a metal drum and a reproducer mechanism. The metal and wood crank handle starts the machine’s motor. A sliding lever at the front selects the speed for four- or two-minute cylinders. The inscribed plate has the maker, serial number, patents and other information. The reproducer also has an inscription. It has a curved metal open horn attachment. Made in Orange, New Jersey in c.1909. NOTE: the fluted octagonal horn is catalogued separately.Case front, in script, Edison’s early ‘banner’ decal “Edison” On the front of the machine “Thomas A Edison TRADE MARK” On the maker’s plate; "Edison Fireside Phonograph Combination Type" Serial number “14718” Around sound outlet; “C 4076” “REPRODUCER LICENCED FOR USE ONLY ON EDISON PHOTOGRAPHS SOLD BYT.A. EDISON INC.” At the front edge “4 MINUTES 2flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck coast, gramophone, phonograph, music player, entertainment, audio equipment, edison, thomas a edison, horn, phonograph horn, amplifier, audio, sound recording, sound playback, phonograph machine, phonograph cylinder, external horn, edison phonograph company, wax cylinders, sound reproduction, edison spring motor factory, national phonograph company, thomas a. edison inc, crank-operated motor, open horn phonograph, 4 speed, 2 speed

This ink bottle is ‘boat’ shaped, which was a common design from the mid-1840s. It was crudely made; maybe it was rejected as a practice bottle or perhaps heat or pressure has distorted it. The bottle was recovered from the wreck of the Inverlochy and is part of the John Chance collection. Ink in the 1700s ink could be purchased in powdered or block form from apothecary shops, to be mixed with water as needed. Then in the mid-1800s chemists began selling ink in liquid form, in small, inexpensive and often attractive bottles. The small glass ink bottles were handmade, blown into a cup shaped mould, and sharply broken off from the blow-pipe at the neck, referred to as the English-made ‘burst-off’ finish. The neck was then filed, filled with liquid ink and sealed with a cork or wax. It was a quick, affordable container and made pen and ink writing available to the public. The name ‘penny ink’ bottles was a common title due to their low cost. INVERLOCHY 1895-1902 - The Inverlochy was a steel sailing barque built in Scotland in 1895 for international trade. In 1902 the Inverlochy left Liverpool under the command of Captain E.R. Kendrick. There were 21 officers and crew and the captain’s wife Mrs Kendrick, on board, bound for Australia with cargo that included tools, chemicals, liquor (beer, whisky, stout, rum, and brandy), steel, iron, wire netting, hoop iron, tinplate and pig iron), and steel wire for the Melbourne Tramway Company, tiles, soap, soft goods and earthenware. On December 18 almost at their destination, the Inverlochy ran aground on Ingoldsby Reef at Point Addis, near Anglesea. The crew and passengers left the ship via lifeboat and landed at Thompson’s Creek, then walked about 20 kilometres to Barwon Heads. Salvagers were interested in the 10 miles of cable in the hold. Mrs Kendrick’s ‘high grade’ bicycle was amongst the items salvaged but she lost her jewellery and two pianos. By February 1903 the ship had broken up and objects such as bottles and casks of liquor were washed ashore. Bad weather shook the wreck in June 1903, causing the ship’s spars and figurehead to be washed ashore. This boat shaped handmade ink bottle is historically significant for its association with communications and record keeping in the mid-to-late 19th century. The bottle is socially significant as an example of making a useful product affordable to every day people. This handmade glass ink bottle is significant for its connection with the John Chance Collection, which is historically significant as an example of artefacts from wrecks that had been lost in the coastal waters of Victoria from thirty to over one hundred years before John Chance and others discovered them. These artefacts are a sample of goods carried as cargo or personal possessions, and of ship hardware of that era. The ink bottle is significant through its connection with the barque, Inverlochy, The Inverlochy is significant for its cargo, which is a snapshot of the array of goods imported into Australia at the turn of the 19th century, including cable for the Melbourne Tramway Company. The Inverlochy is historically significant and is registered on the Victorian Heritage Database, VHR S338. The wreck of the Inverlochy is important as an accessible dive site that shows the remains of a large international trading vessel and its contents. It is valuable for an insight into Victorian era of shipping and maritime history.Ink bottle, thick clear glass, rectangular base with small round mouth, long sides have have a U shaped groove along the shoulders (used for resting pen handles). The outside surface has a white clay-type reside over it. Bottle is very bent and distorted. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, inverlochy, scotland, captain e.r. kendrick, melbourne tramway company, tramway cable, ingoldsby reef, point addis, anglesea, thompson’s creek, barwon heads, boat ink bottle, cottage ink, penny ink, glass ink bottle, pen rest, writing accessory, victorian, antique, ink well, sheer lip, distorted body, handmade, mould blown, statoionery

This teaspoon is an example of electroplated cutlery that was affordable alternative to more expensive silver cutlery, popular in the late 19th and early 20th century. The teaspoon has been stamped with text on the back of its handle that describes the nickel silver alloy that it was made of, and that it was made in Sheffield, but does not mention the maker's name. The plain design and light weight of this teaspoon could mean that it was used as a common, everyday utensil. The text on the back includes the words 'wears wite', assuring the buyer that even if the silverplate wears or flakes off the surface, the metal beneath it will show the white colour typical of nickel silver, or German silver. This alloy of copper, nickel and zinc is often used as a base for electroplating and named Electro Plated Nickel Silver (EPNS). An exact match of this teaspoon's inscription "WEARS-WITE STAINLESS NICKEL SILVER SHEFFIELD" has been found on cutlery made by Viners Ltd., and has not yet been found on flatware made by other manufacturers. Other cutlers have used very similar text but have used 'rustless' instead of 'stainless' and 'white throughout' instead of 'wears-wite'. Viners Limited was established in Sheffield in 1901 by Adolphe Viner and his sons. By 1908 they had a manufacturing plant in Bath Street, Sheffield, and went on to be the leading cutlers in the United Kingdom. They expanded to Hong Kong and Japan, and from 1925 they used the trademarks 'Alpha', 'Resilco' and 'Wear-wite stainless silver nickel'. They were appointed as Royal Cutlers to King George V in 1930, at which time their trademark was still 'Wear-wite' followed by the words 'Rustless Nickle Silver'. They continued to expand and prosper over the years. The Viners name is still being used by the current owners, the Rayware Group. In 2018 the Viners name celebrated 110 years as specialists in flatware. This teaspoon is historically significant, dating from the mid-1920s and made by a leading Sheffield silversmiths, Viners Limited, established in 1901 and continuing on with cutlery still branded with the Viner’s name today. Viners who were appointed as Royal Cutlers in 1930 by King George V. The teaspoon is an example of silver plated cutlery in common everyday use in the earlier half of the 20th century. This Viners teaspoon is unique in our collection as an item produced by Viners Ltd. and bearing the stamp ‘Wear-wite”.Teaspoon, small, thin, nickel silver plated. Narrow plain handle flares out to a wide, rounded end. Maker’s marks are stamped on the reverse. Made in Sheffield, England.“WEARS-WITE STAINLESS / NICKEL SILVER SHEFFIELD”flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, electroplate, electro plate, nickel silver, nickel alloy, alloy composition, copper nickel zinc, german silver, epns, silversmiths, victorian era, 19th century, flatware, tableware, cutlery, cutler, dining utensils, eating utensils, silver-white metal, wears-wite stainless nickel silver sheffield, teaspoon, sheffield, wear-wite, silver nickel, stainless, rustless

This doll's leg was one of a set of artefacts recovered from the shipwreck of the Loch Ard that were donated together. The doll's leg could have been from the ship's cargo or personal effects. Dolls from this era were often made from fabric, which would have quickly deteriorated in the ocean. Ceramic limbs were joined to the body by tightening the fabric around the grooves on the limbs. There are other doll's limbs in our collection that were recovered from the Loch Ard The object is now one of the shipwreck artefacts in Flagstaff Hill’s Mc Culloch Collection, which includes items recovered from the wrecks of the Victoria Tower (wrecked in 1869) and Loch Ard (wrecked in 1878). They were salvaged by a diver in the early 1970s from the southwest coast of Victoria. Advanced marine technology had enabled divers to explore the depths of the ocean and gather its treasures before protective legislation was introduced by the Government. The artefacts were donated to Queensland’s Department of Environment and Heritage Protection (EHP) by a passionate shipwreck lover and their locations were verified by Bruce McCulloch. In 2017 the Department repatriated them to Flagstaff Hill where they joined our vast collection of artefacts from Victoria’s Shipwreck Coast.The Loch Ard: - The three-masted, square-rigged iron ship Loch Ard belonged to the famous Loch Line which sailed many ships from England to Australia. The ship was built in Glasgow in 1873. The Loch Ard made three trips to Australia and one trip to Calcutta before its final voyage. The Loch Ard: - The Loch Ard left England on March 2, 1878, under the command of Captain Gibbs, bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo included straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that were intended for display in the 1880 Melbourne International Exhibition, including the famous Loch Ard Peacock. On June 1, 1878, Captain Gibbs was expecting to see land but visibility was reduced by fog. As it lifted, the sheer cliffs of Victoria's west coast came much closer than expected. The captain was unable to steer away and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck was loosened from the hull, the masts and rigging came down and knocked passengers and crew overboard, and even the lifeboat crashed into the side of the ship and capsized. Of the 54 people on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael. The well-packed Minton porcelain peacock also survived, safe inside its crate. Much of the cargo was washed up, smashed and broken, and some was salvaged. Other cargo is still with the wreck at the base of Mutton Bird Island, now protected by Government law. The artefact is an example of cargo or personal items on board a ship in 1878. It provides a reference point for classifying and dating similar items. This artefact is significant for its association with the sailing ship Loch Ard, one of the best-known, and one of the worst, shipwrecks in Victoria’s history. 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. It is historically significant for representing aspects of Victoria’s shipping history. Doll's leg, cream-coloured ceramic leg with two seams, a flat solid top and a glazed green ankle-length heeled boot. A shallow groove runs around the leg just below the top. An inscription is stamped into the leg below the groove. Recovered from the wreck of the Loch Ard. Inscribed "2"flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, shipwreck artefact, wreck dive, mcculloch collection, bruce mcculloch, loch ard, 1878, loch line, victorian heritage register, sailing ship, captain gibbs, eva carmichael, tom pearce, mutton bird island, loch ard gorge, migrant ship 1878, cargo ship 1878, doll's leg, ceramic doll leg, porcelain doll leg, doll's limb, 1870s doll, 1870's toy, ceramic limb from doll, children's toy, children's recreation, doll's leg with green boot

This spiky, pointy metal flower holder, often called a flower frog or kenzan, was made around the late 19th to the early 20th centuries by Stayput Products of Melbourne, Australia. The flat metal base has been made in layers with the head of the spikes between the layers. It is likely to be handmade. Heavy flower holders made of non-corrosive metals are designed to sit in the base of a vase, dish, bowl or other suitable holder so that cut flower stems can be pushed into the spikes and held firmly in the arrangement. Flower frogs can be made of glass, ceramics or, more recently, synthetic materials.The flower holder is an example of Victorian era domestic decoration aids that have carried through to the 21st century.Flower holder, rectangular block made from layers of metal, with spikes embedded into the metal. The block is heavy, likely to be lead, and the spikes are strong brass pints arranged evenly in rows. There are remnants of florist's putty between some spikes. An inscription within concentric oval rings is moulded in the flat base. Made by Stayput Products, Melbourne, Australia.Stamped into the metal: "STAYPUT / PRODUCTS / MELB. AUST."flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, flower frog, flower arrangements, flower holder, pin-holder, stayput, flower aid, ikebana flower arrangement, kenzan, moribana style, flower support, melbourne manufacturer, spiky pin frog, metal flower holder, stayput products, flower block, flower arranger, vintage, antique, late 19th to early 20th centuries, vase accessory, decorative item, floral arrangement support, florist accessory, floral art, needle aids, victorian era

Photograph shows the ship FIJI where she met her demise, in Wreck Bay, on the shipwreck coast of South West Victoria. The three-masted iron barque Fiji had been built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on 22nd May 1891 bound for Melbourne, under the command of Captain William Vickers with a crew of 25. The ship’s manifest shows that she was loaded with a cargo of 260 cases of dynamite, pig iron, steel goods, spirits (whisky, schnapps, gin, brandy), sailcloth, tobacco, coiled fencing wire, concrete, 400 German pianos (Sweet Hapsburg), concertinas and other musical instruments, artists supplies including brushes, porcelain, furniture, china, and general cargo including candles. There were also toys in anticipation for Christmas, including wooden rocking horses, miniature ships, dolls with china limbs and rubber balls. On September 5th, one hundred days out from Hamburg in squally and boisterous south west winds the Cape Otway light was sighted on a bearing differing from Captain Vickers’ calculation of his position. At about 2:30am, Sunday 6th September 1891 land was reported 4-5 miles off the port bow. The captain tried to put the ship on the other tack, but she would not respond. He then tried to turn her the other way but just as the manoeuvre was being completed the Fiji struck rock only 300 yards (274 metres) from shore. The place is known as Wreck Bay, Moonlight Head. Blue lights were burned and rockets fired whilst an effort was made to lower boats but all capsized or swamped and smashed to pieces. Two of the younger crewmen volunteered to swim for the shore, taking a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, 17 year old able seaman Julius Gebauhr, a German, reached shore safely on his second attempt but without the line, which he had cut lose with his sheath-knife when it become tangled in kelp. He rested on the beach a while then climbed the steep cliffs in search of help. At about 10am on the Sunday morning a party of land selectors - including F. J. Stansmore, Leslie Dickson (or Dixon) and Mott - found Gebauhr. They were near Ryans Den, on their travels on horseback from Princetown towards Moonlight Head, and about 5km from the wreck. Gebauhr was lying in the scrub in a poor state, bleeding and dressed only in singlet, socks and a belt with his sheath-knife, ready for all emergencies. At first they were concerned about his wild and shaggy looking state and what seemed to be gibberish speech, taking him to be an escaped lunatic. They were reassured after he threw his knife away and realised that he was speaking half-English, half-German. They gave him food and brandy and some clothing and were then able to gain information about the wreck. Some of the men took him to Rivernook, a nearby guest house owned by John Evans, where he was cared for. Stansmore and Dickson rode off to try and summon help. Others went down to the site of the wreck. Messages for rescuing the rest of the crew were sent both to Port Campbell for the rocket rescue crew and to Warrnambool for the lifeboat. The S.S. Casino sailed from Portland towards the scene. After travelling the 25 miles to the scene, half of the Port Campbell rocket crew and equipment arrived and set up the rocket tripod on the beach below the cliffs. By this time the crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. Mr Tregear from the Rocket Crew fired the line. The light line broke and the rocket was carried away. A second line was successfully fired across the ship and made fast. The anxious sailors then attempted to come ashore along the line but, with as many as five at a time, the line sagged considerably and some were washed off. Others, nearly exhausted, had to then make their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Many onlookers on the beach took it in turns to go into the surf and drag half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody. (Peter Carmody was also involved in the rescue of men from the Newfield.) Arthur Wilkinson, a 29 year old land selector, swam out to the aid of one of the ship’s crewmen, a carpenter named John Plunken. Plunken was attempting to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck. A line was thrown to them and they were both hauled aboard. It was thought that Wilkinson struck his head on the anchor before s they were brought up. He remained unconscious. The carpenter survived this ordeal but Wilkinson later died and his body was washed up the next day. It was 26 year old Bill Robe who hauled out the last man, the captain, who had become tangled in the kelp. The wreck of the Fiji was smashed apart within 20 minutes of the captain being brought ashore, and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach and their coffins were made from timbers from the wrecked Fiji. They were buried on the cliff top above the wreck. The survivors were warmed by fires on the beach then taken to Rivernook and cared for over the next few days. Funds were raised by local communities soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. At the time there was also a great deal of public criticism at the slow and disorganised rescue attempt to save those on board. The important canvas ‘breech buoy’ or ‘bucket chair’ and the heavy line from the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue: they had been delayed at the Gellibrand River ferry. Communications to Warrnambool were down so the call for help didn’t get through on time and the two or three boats that had been notified of the wreck failed to reach it in time. Much looting occurred of the cargo that washed up on the shore, with nearly every visitor leaving the beach with bulky pockets. One looter was caught with a small load of red and white rubber balls, which were duly confiscated and he was ‘detained’ for 14 days. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. (The pocket watch came with 2 winding keys, one to wind it and one to change the hands.) Years later Bill passed the watch to his brother-in-law Gib (Gilbert) Hulands as payment of a debt and it has been passed down the family to Gilbert Hulands’ grandson, John Hulands. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the 200m high cliffs overlooking Wreck Beach, west of Moonlight Head, paying tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Amongst the artefacts salvaged from the Fiji are china miniature animals, limbs from small china dolls, rubber balls, a slate pencil, a glass bottle, sample of rope from the distress rocket and a candlestick holder. These items are now part of the Fiji collection at Flagstaff Hill Maritime Museum, along with Captain Vickers’ pocket watch and Julius Gebauhr’s sheath knife. Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents 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 Fiji collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Black and White Photograph of the ship "Fiji" taken from Wreck Creek. warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, pocket watch, fob watch fiji, william vickers, william robe, bill robe, gebauhr, stansmore, carmody, wreck bay, moonlight head, fiji shipwreck 1891, port campbell rocket crew, wreck bay victoria

The handmade earthenware jar was one of a group of artefacts in the McCulloch Collection that were recovered from the shipwreck Loch Ard. The jar could have been from the ship's cargo or personal effects. There are other jars in our collection that were recovered from the Loch Ard. The object is now one of the shipwreck artefacts in Flagstaff Hill’s Mc Culloch Collection, which includes items recovered from the wrecks of the Victoria Tower (wrecked in 1869) and Loch Ard (wrecked in 1878). They were salvaged by a diver in the early 1970s from the southwest coast of Victoria. Advanced marine technology had enabled divers to explore the depths of the ocean and gather its treasures before protective legislation was introduced by the Government. The artefacts were donated to Queensland’s Department of Environment and Heritage Protection (EHP) by a passionate shipwreck lover and their locations were verified by Bruce McCulloch. In 2017 the Department repatriated them to Flagstaff Hill where they joined our vast collection of artefacts from Victoria’s Shipwreck Coast. The Loch Ard: - The three-masted, square-rigged iron ship Loch Ard belonged to the famous Loch Line which sailed many ships from England to Australia. The ship was built in Glasgow in 1873. The Loch Ard made three trips to Australia and one trip to Calcutta before its final voyage. The Loch Ard left England on March 2, 1878, under the command of Captain Gibbs, bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo included straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that were intended for display in the 1880 Melbourne International Exhibition, including the famous Loch Ard Peacock. On June 1, 1878, Captain Gibbs was expecting to see land but visibility was reduced by fog. As it lifted, the sheer cliffs of Victoria's west coast came much closer than expected. The captain was unable to steer away and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck was loosened from the hull, the masts and rigging came down and knocked passengers and crew overboard, and even the lifeboat crashed into the side of the ship and capsized. Of the 54 people on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael. The well-packed Minton porcelain peacock also survived, safe inside its crate. Much of the cargo was washed up, smashed and broken, and some was salvaged. Other cargo is still with the wreck at the base of Mutton Bird Island, now protected by Government law. The artefact is an example of cargo or personal items on board a ship in 1878. It provides a reference point for classifying and dating similar items. This artefact is significant for its association with the sailing ship Loch Ard, one of the best-known, and one of the worst, shipwrecks in Victoria’s history. 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. It is historically significant for representing aspects of Victoria’s shipping history. Container, round brown earthenware jar with a wide mouth, thick lip, a wide neck that tapers slightly inwards towards the shoulder, and a body that tapers slightly inward towards the base. The glazed surface is rough. The variegated colours of the clay also has small dark speckles. There are several chips and dents on the jar. The inscription is stamped into the lower edge. Made by Bailey & Co., England. Recovered from the wreck of the Loch Ard.Inscription “Bailey [&] Co / ENGLAND” flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, white star line, victorian heritage register, sailing ship loch ard, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, migrant ship 1878, cargo ship 1878, stoneware jar, domestic container, kitchenware, kitchen storage, bailey & co england, shipwreck artefact, wreck dive, mcculloch collection, bruce mcculloch, 1878, sailing ship, earthenware, stoneware, domestic jar

This double-sheaved wooden ship’s block or pulley is a mechanical device used for lifting and moving heavy objects. It has two grooved wheels joined together, each with an axle between the cheeks or sides of the grooved wheel. Blocks and tackle are included in a ship’s rigging. These pulleys and ropes are used for the mechanical advantage they provide for lifting, moving and re-arranging the setting of the sails, which are very heavy work. Blocks are also used to load and unload the ship’s cargo. The FALLS of HALLADALE- The sailing ship Falls of Halladale was an iron-hulled, four-masted barque, used as a bulk carrier of general cargo. She left New York in August 1908 bound for Melbourne and Sydney. In her hold was general cargo consisting of roofing tiles, barbed wire, stoves, oil, and benzene as well as many other manufactured items. After three months at sea and close to her destination, a navigational error caused the Falls of Halladale to be wrecked on a reef off the Peterborough headland on the 15th of November, 1908. The captain and 29 crew members survived, but her cargo was largely lost, despite two salvage attempts in 1908-09 and 1910. The Court of Marine Inquiry in Melbourne ruled that the foundering of the ship was entirely due to Captain David Wood Thomson's navigational error, not too technical failure of the Clyde-built ship. The Falls of Halladale was built in1886 by Russell & Co., at Greenock shipyards on the River Clyde, Scotland for Wright, Breakenridge & Co of Glasgow. The ship had a sturdy construction built to carry maximum cargo and was able to maintain full sail in heavy gales, one of the last of the 'windjammers' that sailed the Trade Route. She and her sister ship, the Falls of Garry, were the first ships in the world to include fore and aft lifting bridges. The new, raised catwalk-type decking allowed the crew to move above the deck in stormy conditions.This artefact is important as it is an example of the materials and design of late-19th century ship’s rigging equipment. The object is also significant for its association with the historic sailing ship Falls of Halladale, wrecked in local waters in the early 20th century. The clipper ship Falls of Halladale shipwreck is of historical significance and is listed on the Victorian Heritage Register, No. S255. She was one of the last ships to sail the Trade Routes. She was one of the first vessels to have fore and aft lifting bridges. The vessel is an example of the remains of an international cargo ship and also represents aspects of Victoria’s shipping industry.Ship's block; a double-sheave wooden block with thick concretion on it. The rope block was recovered from the wreck of the sailing ship, Falls of Halladale.Noneflagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck coast, falls of halladale, shipwreck, peterborough, 1908 shipwreck, peterborough shipwreck, russell & co., greenock, wright breakenridge & co. glasgow, clipper ship, machine, mechanical advantage, block, wooden block, pulley, tackle, sheave, ship rigging, double-sheave, twin sheave, captain david wood thomson, iron ship, four-masted ship, sailing ship, windjammer, clyde, wright, breakenridge & co of glasgow, fore and aft lifting bridges

This book includes the classic poem ‘Rime of the Ancient Mariner’ by Samuel Taylor Coleridge, the lines of which are set out in twelve pages of double columns. Each section of the poem is titled, such as 'Part the Sixth'. The twenty lithographed line drawings by J. Noel Paton RSA illustrate major events of the story and repeat the applicable verse below them. Most of the drawings have the initials of the artist and the lithographer on the bottom corners, below which are printed their names. The margins of the poem contain printed author's notes. Interestingly, the printer's name is added as a footnote on page 12, at the end of the poem. The book is included in the Rare Books collection of Flagstaff Hill. Its description closely matches one of two copies of the book held by the British Museum. There have been other publications of Coleridge’s poem over the years, based on various editions of his poem and illustrated by other artists. When this book was first published, Paton’s illustrations were available individually for the public to purchase. The author, Samuel Taylor Coleridge (1772-1834), was a notable late 18th to early 19th century English poet. He was the youngest of fourteen children. His father was a vicar as well as the master of a grammar school, with Samuel attended. Coleridge's longest poem, 'Rime of the Ancient Mariner', was written about 1797-1798 and tells of the experiences and adventures of a sailor. It was included in a collection of poetry titled 'Lyrical Ballads', jointly written with his friend William Wordsworth. The volume is considered the beginning of the Romantic era of British poetry. Coleridge acknowledges William Wordsworth in this poem, in ‘Part the Forth’ with the footnote “For the two left lines of this stanza, I am indebted to Mr Wordsworth. It was on a delightful walk from Nether Stowey to Dulverton, with him and his sister, in the autumn of 1797, that this poem was planned, and in part composed”. Sir Joseph Noel Paton RSA (1821-1901) is a well-known Scottish-born artist and painter of historical artwork, created the line illustrations in 1863, highlighting the main points of the poem. In the same year he also illustrated Charles Kingsley's 'Water Babies'. He was appointed Queen’s Limner for Scotland from 1866. The book was published in 1863 by the Art Union of London, an organisation whose members paid an annual subscription, and who received an annual prize of a work of art. The organisation was established in 1837 and membership quickly grew until the 1870's. Membership then slowly dropped off until the organisation was would up in 1912. Lithographer William Husband McFarlane, of Edinburgh, Scotland, created the black and white lithograph outlines from Paton’s drawings, illustrating many of the lines of the poem. The book of poetry and Illustrations was then printed by Neill & Company, Edinburgh, in 1763. The company was formed by Patrick Neill in 176. The company was known for inventing one of the early mechanical typesetting machines, which was used for the Company's publications as well as sold to other companies even into the early 1900s. The firm continued in business until 1973. This copy of the book was presented to Emily Taylor Smith by her father on September 16, 1867, four years after it was published. There is no further information available about Emily at this point in time.This Victorian era book of poetry with illustrated prints, the 'Rime of the Ancient Mariner' by Samuel Taylor Coleridge, is considered to be a rare book. The British Museum holds two copies, one of which is very similar in description. The book is significant for containing a poem written by the renowned British poet Samuel Coleridge, who acknowledges the contribution of a couple of the lines to his friend William Wordsworth. The book's significance is increased for being included in a collection of poetical works jointly written by Coleridge and his friend William Wordsworth, entitled 'Lyrical Ballads' and published in 1797. The printer of the book, Neill & Company, was known for pioneering an early mechanical typesetting machine. It’s significance also includes the collection of Victorian artwork within. Coleridge's poem is significant for being included in 'Lyrical Ballads', which is considered to signify the beginning of the Romantic era of British poetry. Book: large, burgundy linen covered, hard cover, with gold embossed title and images, landscape orientation. Title: Coleridge's Rime of the Ancient Mariner. Author: Samuel Taylor Coleridge Illustrator: J. Noel Paton, R.S.A. Publisher: Art-Union of London in 1863. Lithographer: W.H. McFarlane in Edinburgh, Scotland, 1863. Printer: Neill & Company, Edinburgh, Scotland Contents include the lines of a poem, with lithograph illustrations above applicable short verse. The cover and fly page have the same emblems. A personal inscription is hand written in nib pen inside the book.Printed: "COLERIDGE'S RIME OF THE ANCIENT MARINER" "ILLUSTRATED BY J. NOEL PATON, R.S.A." "ART-UNION OF LONDON, 1863" " W.H. McFARLANE, LITHOGr, EDINBURGH" "Printed by Neill & Company, Edingurgh" Emblems embossed on cover, and a repeat printed on fly page, include stars encircling a crucifix and a snake entwined around a cross bow with a branch in its mouth.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, coleridge's rime of the ancient mariner, rime of the ancient mariner, ancient mariner, samuel coleridge, j. noel paton, art-union of london, 1863, rare book, samuel taylor coleridge, art union of london, w.h. mcfarlane, william husband macfarlane, sir joseph noel paton, poem, emily taylor smith, 1867, romantic period, william wordsworth, lithograph, poetry, lyrical ballads, british romantic movement, literary work, neill & company edinburgh, j. noel paton rsa, mechanical typesetting, alexander neill fraser, mechanical typesetting machine

This chair is one of a set of four chairs from the St. Nicholas Seamen’s Church, 139 Nelson Place, Williamstown, Victoria, during religious services there. The Church was operated by the Mission to Seamen organisation. * for more detailed history please see our Registration Number 658, Set of chairs This set of chairs is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The set of chairs is historically significant for its connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this set of chairs to the Mission to Seamen and to the Ladies Lightkeepers’ Auxiliary highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Chair: Australian Colonial rail back dining chair. Chair is one of a set of four (4) cedar wood chairs. Each chair has a rounded rail back, flat cross rail, flat solid wood seat, curved back legs and colonial turned front legs. Mid-brown colour, veneer finish. The set of chairs is part of the St Nicholas Seamen's Church Williamstown Collection. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, religion, religious service, sailors rest, sailors’ church, bethel sailors’ church, bethel floating church, ladies harbour light guild, lightkeepers’ auxiliary, missions to seamen victoria, mission to seafarers, flying angel’s club, ann street williamstown, st nicholas seaman’s church williamstown, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, church furniture, religious furniture, religious worship, anglican church, chair, dining chair, kitchen chair, domestic furniture, colonial chair, australian colonial period, cedar chair