During the Victorian era, the period (1837-1901) in which Queen Victoria ruled England. The queen’s influence was felt throughout the world, including in the United States and Australia where Victorian values shaped society and style, especially in home décor. This period’s distinct style presents an eclectic mix of highly ornamented furniture, wallpaper, and knick-knacks. Particularly in terms of furniture, and the characteristic floral patterns and rich, contrasting colours, wall hanging that enjoyed the height of its popularity during the Victorian era were of the spiritual type with an either embroidered or punched paper religious motto or bible quote. Mottoes were commonly hung high up on the wall or in an area of prominence, to remind the viewer of their important message, such as "Home sweet Home “He Leadeth Me” and “Honesty, Industry, and Sobriety.” Short and pithy, they embodied the ideals of Victorian society. Technological advances contributed to the boom of religious mottoes whereas before the Industrial Revolution home décor of this sort was handmade and therefore minimal, now consumers could purchase and fill their homes with all sorts of mass-produced ephemera goods similar to the subject item. Many of these mass-produced period pieces still exist today, often in their original frames, ceramic, or paper formats. Flagstaff maritime museum has many examples of mottoes on display that serve to reflect the period in which values of home, faith, and Christianity were very prominent in everyday Victorian society. For more information on the Giles collection see Acquisition section this document: An item that reflects the social values and attitudes of the late Victorian era that was used to promote good Christian and moral values in many households. These items of decoration were very popular at this time and the subject item is significant as it gives a snapshot into the social norms of past generations. The Giles family collection is of additional social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us an additional view into what domestic life was like in early colonial times prior to Federation.Wall decoration, framed handmade embroidered tapestry with the woven inscription, Frame has velvet cover. This item is part of the Giles CollectionHome Sweet Home, in gothic scriptflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, soft furnishing, wall decoration, home sweet home, wall hanging, handmade wall hanging, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century handcraft, mrs vera giles

This photograph is of Christina Giles, who died in Wangoom, Warrnambool, in 1899 at 7 years, 5 months and 4 days old and is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. Jordan, Warrnambool refers to Joseph Jordan who operated a photographic studio in Warrnambool from the late 1880s. His work was prevelent in Victoria's Western District of Victoria.This photograph of Christina Giles is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation and the high mortality rates amongst children during the early years of colonial settlement. The photograph is also significant for is association with renowned Western District photographer, Joseph Jordan.Photograph of Christina Giles standing on chair in a decorative carved wood frame with floral design in abstract shape. Photo by Jordan of Warrnambool. Christina Giles died in Warrnambool in 1899 at 7 years, 5 months, 4 days of age. It is part of the Giles Family Collection. "Jordan Warrnambool" ( Photographers) flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, christina giles, giles collection, giles family, giles history, henry and mary giles, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century personal effects, joseph jordan, jordan photography

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

The Crane foundry opened some time before 1827 and was known as Atherton’s Foundry, run by James Atherton and Henry Crane. Initially it was a brass foundry, but by 1827 iron castings were also produced on the site. The main products were castings for the building industry, ironmongery and brassware. In the 1830s castings for the hand tool and lock industries were added to the product range and by 1836 Henry Crane had taken control of the business. The company became known as the Crane Foundry in 1847 with its own registered trademark. By the 1850s iron weights were produced, and a design was registered in 1872 with roundels decorating the edge. Brass weights were also produced, mainly after the regulation of 1890 that required weights of 2oz. or less to be made of brass. In the early 1900s the foundry began to produce castings for electric motors and continued to do so throughout its life. The Crane family continued to control the company until 1917 when William Cyril Parkes of lock makers Josiah Parkes & Sons Limited, Willenhall became a majority shareholder. Things were going well until the company’s liabilities spiraled out of control with the rise in electricity and gas prices along with the loss of two of the company’s largest customers. The factory went into liquidation and then closed in 2006 an end to one of Wolverhampton’s oldest companies.An item made by one of England's foundry’s based in Wolverhampton that exported items all over the world for many years. The scale gives a snapshot into the commercial life not only of England by Australian colonial life before Federation.Beam scale with three weights (4lb, 2lb, 1lb), metal tray, corrodedMarked on 2lb weight "Wolverhampton Crane Foundry" flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, scale, beam scale, pounds and ounces, imperial weight, grocers scale, domestic scale, henry crane, crane foundry

This sideboard was from the home of Henry and Mary Jane Giles, who lived in Mailor's Flat, Wangoom, and Purnim West, Victoria, and is part of the many 19th century items of furniture, linen, and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles, and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student-teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat, and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940.The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation.Kauri Pine Mirror Backed Sideboard, two drawers and two doors to the base, the doors being carved in the traditional manner with a leaf design, brass swing handles are fitted to each of the drawers. The back has two shelves each supported on two turned columns, three mirrors are fitted into carved panels matching design as doors.The pediment is also carved in the same manner finishing with scrolled edges. Circa 1880. This item is part of the Giles Collection.Marked "Villa Rica" "Ambassadors" "Claro" "50" In pencilflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, sideboard, furniture, dresser, giles collection, henry giles, vera giles, tower hill, cooramook, mailor’s flat, wangoom, 19th century furniture, purnim west, 1880s furniture

Hand forged metal tool, possibly a sailmaker's hook with the hook broken. It may be a fire iron. The twisted metal is a skill learned by a blacksmith.The item is a handmade tool, an example of the work of a blacksmith. Smiths were sought after in colonial Australia. Their trade allowed them to custom make work for the different industries necessary for survival in a new land.Sailmaker's stretching tool; long thin metal rod bent in half, with centre forming a handle or loop, and long ends twisted together to form a stem. The loose ends are formed together but appear broken.warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, tool, sailmaker's tool, fire iron, blacksmith, twisted rod, twisted wire, sailmaker's hook

The newspaper is the very first edition of The Age. The central shield has the words "COLONY OF VICTORIA" printed below it. the handwritten script has the name John Pascoe, and the location of Fawner, a suburb of Melbourne. There are eight pages comprising of two large sheets, folded one inside the other and all sides printed on. This edition was printed and published by Francis Cooke, for the publishers Francis Cooke & Co. at The Age Newspaper and General Printing Office, 21 Elizabeth Street, South Melbourne, in the Colony of Victoria, which came into being on July 1st, 1851.This edition of The Age newspaper is very significant as it is the first edition, printed 17th October 1854, and contains shipping news amongst may other topics in its eight pages. Newspapers were very significant in Colonial times for a meas of communication throughout the colony. Newspaper, The Age newspaper, Vol. 1, No. 1, first edition, Tuesday October 17th 1854. eight pages. Large format. Inscription in script on top of first and last page. Handwritten in script "John Pascoe" "Fawkner" "COLONY OF VICTORIA" "PRINTED DAILY" "PRICE SIXPENCEflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, the age, newspaper, melbourne, colony of victoria, first edition, 1854, john pascoe, fawkner

The subject of this photograph, David Charteris McArthur was the founding manager of the Bank of Australasia in Port Phillip (Melbourne). McArthur was born in 1808 in Gloucester, England, and educated in Scotland. He worked for an insurance firm in Edinburgh where in 1835 he married Caroline nee Wright. McArthur and his family party sailed from the U.K. to arrive in Sydney in October 1835, where he joined the Bank of Australasia when it opened in Sydney in December. McArthur sailed to Melbourne in August 1838 with 3000 pounds in coins, protected by armed guards and two bulldogs, to open the Melbourne branch of the Bank of Australasia. The branch grew quickly, servicing both private and government customers. He opened many branches in the goldfields during the1850’s. In 1862 he was appointed as general inspector of branches. He spent time with the bank in New Zealand. On his return to Melbourne, at age 57, he was put in charge of the entire bank. McArthur lived in the hills of Heidelburg, Melbourne. He was the first chairman of Associated Banks and was advisor to politicians and merchants. He was retired in October 1876 by the London directors and given a free trip to London, an annuity and a seat on the bank’s Advisory Board. McArthur was active in the community, being a member of the Mechanics’ Institute, on the committee that advised Governor Hotham on the Colony’s finances, chairman of the Heidelburg Road Board, one of the original trustees of the Library of Victoria in 1853 and president of trustees of the Public Library, Museums and National Gallery of Victoria in 1880-83. He was also on many other community organisations. He died in his home “Charterisville” in East Ivanhoe in 1887. He and Caroline had no children. The Melbourne branch of Australia and New Zealand Bank has a portrait of McArthur in its boardroom. St John's Church, Heidelberg, commemorates him with a stained-glass window entitled 'King David'. The McArthur Gallery in the National Gallery of Victoria is also named after him. (David's brother, Donald, moved from Sydney to Melbourne in 1836 with the first government survey team.) ABOUT THE BANK OF AUSTRALASIA In 1836 the Bank of Australasia was established in London by Royal Charter. In 1951 the bank merged with the Union Bank of Australia, to form ANZ Bank Limited. In 1970 it merged with the English, Scottish and Australian Bank to become Australia and New Zealand Banking Group Limited. Since that time the ANZ has acquired other banks and introduced Internet banking and mobile banking. BANK OF AUSTRALASIA IN WARRNAMBOOL The Bank of Australasia first opened in Warrnambool in July 1854 in a building on Merri Street. The manager was Mr Samuel Hannaford. The bank then purchased and moved to a stone building on the corner of Timor and Gibson Streets, previously owned by Cramond and Dickson and almost opposite the Examiner’s office. In January 1957 Mr W.H. Palmer became the new manager and was there until November 1869. The bank then built its own building on the corner of Timor and Kepler Streets in 1859. Mr Basil Spence, the teller, was appointed acting manager in 1869 and Mr H.B. Chomley was the next appointed manager, in April 1873 and was still manager in 1886. The municipality of Warrnambool first banked with the Bank of Australasia from 1856 to April 1857. David Charteris McArthur was the founding manager of the Bank of Australasia. This photograph of him represents the beginnings of Warrnambool's commercial history, with the municipality using the Bank of Australasia as its bank from 1856-April 1857.Photograph; portrait of David Charteris McArthur. Heavily retouched black and white print in plain brown varnished frame, behind glass, with plaque on lower edge and inscription lower left corner.Lower left corner "A-H 1-9". Engraved on plaque "DAVID CHARTERS MCARTHUR \ SUPERINTENDENT \ BANK OF AUSTRALASIA \ 1867-1876"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bank of australasia, david charteris mcarthur, superintendent bank of australasia, colonial commerce, manager bank of australasia melbourne, colonial bank, warrnambool bank of australasia, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, boa, union bank, australia & new zealand bank, anz bank, david charters mcarthur, d c mcarthur

This chest came from County Cavan, North Ireland, with Jane Fleming, when she migrated to Australia arriving at Port Fairy in approximately 1863. Jane Flemming was about 6 or 7 years old at the time and later was to become the mother of Mary Jane Giles (nee Flemming). This chest is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940.The chest is of historical significance as an example of an early piece of furniture brought to Australia by Jane Flemming when she migrated to Australia during the mid 19th century. The chest is associated with the Giles family as Jane later was to become the mother Of Mary Jane Giles (nee Flemming). The Giles family collection is of social and historical significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation. Linen chest wood construction with hinged lid and lock. Hinges are brass. Painted black. ( Giles Collection)Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, wooden chest, cabin trunk, giles collection, henry giles, tower hill, cooramook, mailor’s flat, wangoom, 19th century household goods, jane flemming, mary jane giles, linen chest

This spoon is an example of cooking equipment used in Colonial times and continues into today.Spoon; wooden blonde spoon with worn oval spoon section and rod handle. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, spoon, wooden spoon, baking equipment, cooking spoon

This lifebuoy is part of the lifesaving equipment that would be carried on vessels in the late 19th and early 20th century. The strips of cork wood have been joined together to make the ring shape. The broad arrow symbol indicates that it was once the property of the British or Australian defence force. A lifebuoy, or life-preserver, is used as a buoyancy device to keep a person afloat in the. It is usually connected by a rope to a person in a safe area such a nearby vessel or on shore. The lifebuoy is thrown to a person in distress in the water, allowing the rescuer to pull the person to safety. The lifebuoy is a made from a buoyant material such as cork or rubber and is usually covered with canvas for protection and to make it easy to grip. The first use of life saving devices in recent centuries was by the Nordic people, who used light weight wood or cork blocks to keep afloat. From the early 20th century Kapok fibre was used as a filling for buoys. Light weight balsa wood was used as a filler after WW1. In 1928 Peter Markus invented and patented the first inflatable life-preserver. By WW2 foam was combined with Kapok. Laws were passed over time that has required aeroplanes and water going-vessels to carry life-preservers on board. The lifebuoy is an example of equipment carried on vessels in the late 19th and early 20th century to help preserve life. There were many lives lost in Australia’s colonial period, particularly along the coast of South West Victoria. The lifebuoy was once the property of the British or Australian defence force.Lifebuoy, round cork object with canvas wrapped around it and rope attached to one side. Broad arrow mark and other red marks indecipherable. Painted white.Symbol of broad arrow. indecipherable markings.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, life rings, lifebuoy, safety ring, life-saving buoy, ring buoy, life preserver, personal floating device, floatation device, safety equipment, government lifebuoy, broad arrow

This lifebuoy is part of the lifesaving equipment that would be carried on vessels in the late 19th and early 20th century. The strips of cork wood have been joined together to make the ring shape. A lifebuoy, or life-preserver, is used as a buoyancy device to keep a person afloat in the. It is usually connected by a rope to a person in a safe area such a nearby vessel or on shore. The lifebuoy is thrown to a person in distress in the water, allowing the rescuer to pull the person to safety. The lifebuoy is a made from a buoyant material such as cork or rubber and is usually covered with canvas for protection and to make it easy to grip. The first use of life saving devices in recent centuries was by the Nordic people, who used light weight wood or cork blocks to keep afloat. From the early 20th century Kapok fibre was used as a filling for buoys. Light weight balsa wood was used as a filler after WW1. In 1928 Peter Markus invented and patented the first inflatable life-preserver. By WW2 foam was combined with Kapok. Laws were passed over time that has required aeroplanes and water going-vessels to carry life-preservers on board. The lifebuoy is an example of equipment carried on vessels in the late 19th and early 20th century to help preserve life. There were many lives lost in Australia’s colonial period, particularly along the coast of South West Victoria.Lifebuoy, round cork object covered with white stiffened material wound around it. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lifebuoy, life rings, safety ring, life-saving buoy, ring buoy, life preserver, personal floating device, floatation device, safety equipment

This lifebuoy is part of the lifesaving equipment that would be carried on vessels in the late 19th and early 20th century. The strips of cork wood have been joined together to make the ring shape. A lifebuoy, or life-preserver, is used as a buoyancy device to keep a person afloat in the. It is usually connected by a rope to a person in a safe area such a nearby vessel or on shore. The lifebuoy is thrown to a person in distress in the water, allowing the rescuer to pull the person to safety. The lifebuoy is a made from a buoyant material such as cork or rubber and is usually covered with canvas for protection and to make it easy to grip. The first use of life saving devices in recent centuries was by the Nordic people, who used light weight wood or cork blocks to keep afloat. From the early 20th century Kapok fibre was used as a filling for buoys. Light weight balsa wood was used as a filler after WW1. In 1928 Peter Markus invented and patented the first inflatable life-preserver. By WW2 foam was combined with Kapok. Laws were passed over time that has required aeroplanes and water going-vessels to carry life-preservers on board. The lifebuoy is an example of equipment carried on vessels in the late 19th and early 20th century to help preserve life. There were many lives lost in Australia’s colonial period, particularly along the coast of South West Victoria.Lifebuoy, round cork object with no covering. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, life rings, lifebuoy, safety ring, life-saving buoy, ring buoy, life preserver, personal floating device, floatation device, safety equipment

This sign is painted on both sides. It was attached to the bluestone wall on the western wing of the Lighthouse Keeper's Quarters, the Assistant Keeper's Quarters, at Flagstaff Hill Maritime Museum and Village for almost 50 years. The Complex was opened to the public on December 11, 1975, and officially opened by Victorian Premier Sir Rupert Hamer on July 8th, 1977. The sign's reverse side reads "Loch Ard Peacock & Museum". The three rooms had displays behind glass showing various ships' fittings, cargo and personal belongings recovered from significant shipwrecks along the southwest coast of Victoria. There was also a display of information about the mysterious Mahogany Ship or Ancient Wreck. The shipwreck artefacts were recovered by local divers in the 1960s and early 1970s. Also on display was the famous Loch Ard Peacock, created in 1873, survived the shipwreck in 1878, was purchased by Flagstaff Hill in 1975 and announced as being on display in The Standard of September 15, 1975. In about 1984 the other side of the sign was painted "SHIPWRECK MUSEUM" and re-displayed on the building. The Loch Ard Peacock was by that time on display in the Entrance building; plans were underway on August 31st 1984 to build a Hall for its unique display. In February 2023 the sign was removed from the building, which was undergoing restoration and preparation for use as a new Temporary Exhibition space. The Loch Ard Peacock continued its journey around the Village; it was moved from the Entrance to the Village's newly completed Public Hal in 1986. It also spent a short time in the Stella Maris Tea Rooms. This was likely around 1998, when the Common School had moved from the Chartroom building to what had been the Public Hall. The Loch Ard Peacock was once again moved in around 2001, this time to be the central attraction and meeting place in the Great Circle Gallery, which opened on December 31st 2002. The sign continued to be displayed on the western wing of the Lighthouse Keeper's Quarters until February 2023. This wing has now been restored and re-fitted to become a facility for short-term exhibitions. A section of the original internal wall frame and wallpaper that couldn’t be kept in the building due to preservation issues have been saved and become sort of the Flagstaff Hill Collection. The sign has guided the visitors of Flagstaff Hill Maritime Museum and Village to the exhibits of artefacts from historic and significant shipwrecks. It has connected the current generations to the people and objects of the past, leading to a better understanding of our Colonial history.Sign, wooden, rectangular, with a hole through each short side. The front and reverse have different painted text. Cream paint for the background colour, green paint for the lettering, and the reverse has a white painted border. The front has an arrow painted on the right-hand side. The sign was used at Flagstaff Hill since its opening.Text on front "SHIPWRECK MUSEUM >" Text on back "LOCH ARD PEACOCK / & MUSEUM"flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, sign, building sign, shipwreck museum, loch ard peacock & museum, flagstaff hill history, assistant lighthouse keeper's cottage, assistand lighthouse keeper's quarters, public hall, common school

This book is a mid-20th century updated version of a manual with regulations and instructions for lighthouse staff and the supply of equipment and other goods that are necessary. It includes lists such as protective clothing required, fuel, when to raise a flag at half-mast, how communication must be carried out, the testing of equipment, and other similar information. It also contains templates for the Certificates of Service of various ranks such as Master and Mate. Australia no longer has manned lighthouses although some still have caretakers that report on the weather. The last manned lighthouse was in Tasmania and was de-manned in December 1995.The ultimate purpose of the book was to set down instructions that would be used to carry out life saving procedures, and to avoid shipwrecks. It confirms some earlier methods and updates others. The information within the book is similar to the information referred to by the 19th century and early 20th century lighthouse keepers and staff, and others involved in the preservation of life, such as those published by the Department of Ports and Harbours. The book is a valuable resource to those researching the evolving of maritime history from Colonial Australia to the modern day.Book, orange vinyl surface sealed cover on hard covered ring-binder. Gold embossed title on spine and front cover. Contains cream loose-leaf pages with rounded corners. Pages are printed with text, tables and diagrams, and are numbered with serial page and paragraph numbers. There is a Table of Contents and an Index. The cover displays the Coat of Arms of the Commonwealth of Australia. Published by the Commonwealth of Australia in 1968 for the Department of Shipping and Transport, the book contains the Standing Orders to Masters and Crews of Lighthouse Tenders. It has examples for Certificates of Service for various ranks, a list of books and forms, protective clothing, rates for passengers, and a Scheme of Colour Painting for Lighthouse Tenders.Coat of Arms [Commonwealth of Australia] "COMMONWEALTH OF AUSTRALIA" "DEPARTMENT OF SHIPPING AND TRANSPORT" "STANDING ORDERS / TO / MASTERS AND CREWS OF LIGHTHOUSE TENDERS" "No 1/1968" "No.2/1968"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, shipwrecks, life saving, lifesaving, shiipping and transport, commonwealth of australia, standing orders, lighthouse crew, lighthouse tenders, masters and crews, 1968

Paperback. Front cover has an old photograph of the Wilks Creek Bridge.non-fictionA history of the Wilks Creek Bridge and its connection to the Yarra Track.wilks creek bridge, yarra track, narbethong, marysville, victoria, clement wilks, wood's point goldfields, jordan goldfields, john monash, monash and anderson, 2009 black saturday bushfires

A colour photograph of the Wilks Creek Bridge near Marysville in Victoria.A colour photograph of the Wilks Creek Bridge near Marysville in Victoria. The Wilks Creek Bridge is a former timber and bluestone road bridge on the Yarra Track, and is located just off the Black Spur route, between Narbethong and Marysville, Victoria, Australia. It was built in 1870 to the design of colonial Public Works Department engineer Clement Wilks as part of the construction of a new road to the Woods Point and Jordan Goldfields. Like many bridges of the period, it had a timber superstructure employing squared beams supported by struts and straining pieces, on cut bluestone abutments. The bridge was remodelled around 1900 by engineer John Monash of the famous bridge-engineering firm of Monash and Anderson. It was last used for heavy vehicular traffic in 1980 following the realignment of Marysville Road, and was left to decay until its demolishment in 2008. All timber traces of the bridge were destroyed in the 2009 Black Saturday fires. The handcrafted bluestone masonry wingwalls and abutments, especially shaped to receive timber struts, rate among the earliest of its kind surviving intact in Victoria.wilks creek bridge, yarra track, narbethong, marysville, victoria, clement wilks, wood's point goldfields, jordan goldfields, john monash, monash and anderson, 2009 black saturday bushfires

A black and white photograph taken at the re-opening of the Wilks Creek Bridge picnic area and launch of Ann Thomas' book Wilks Creek Bridge.A black and white photograph taken at the re-opening of the Wilks Creek Bridge picnic area and launch of Ann Thomas' book Wilks Creek Bridge. The Wilks Creek Bridge is a former timber and bluestone road bridge on the Yarra Track, and is located just off the Black Spur route, between Narbethong and Marysville, Victoria, Australia. It was built in 1870 to the design of colonial Public Works Department engineer Clement Wilks as part of the construction of a new road to the Woods Point and Jordan Goldfields. Like many bridges of the period, it had a timber superstructure employing squared beams supported by struts and straining pieces, on cut bluestone abutments. The bridge was remodelled around 1900 by engineer John Monash of the famous bridge-engineering firm of Monash and Anderson. It was last used for heavy vehicular traffic in 1980 following the realignment of Marysville Road, and was left to decay until its demolishment in 2008. All timber traces of the bridge were destroyed in the 2009 Black Saturday fires. The handcrafted bluestone masonry wingwalls and abutments, especially shaped to receive timber struts, rate among the earliest of its kind surviving intact in Victoria.wilks creek bridge, yarra track, narbethong, marysville, victoria, clement wilks, wood's point goldfields, jordan goldfields, john monash, monash and anderson, 2009 black saturday bushfires

A black and white photograph taken at the re-opening of the Wilks Creek Bridge picnic area and launch of Ann Thomas' book Wilks Creek Bridge.A black and white photograph taken at the re-opening of the Wilks Creek Bridge picnic area and launch of Ann Thomas' book Wilks Creek Bridge. The Wilks Creek Bridge is a former timber and bluestone road bridge on the Yarra Track, and is located just off the Black Spur route, between Narbethong and Marysville, Victoria, Australia. It was built in 1870 to the design of colonial Public Works Department engineer Clement Wilks as part of the construction of a new road to the Woods Point and Jordan Goldfields. Like many bridges of the period, it had a timber superstructure employing squared beams supported by struts and straining pieces, on cut bluestone abutments. The bridge was remodelled around 1900 by engineer John Monash of the famous bridge-engineering firm of Monash and Anderson. It was last used for heavy vehicular traffic in 1980 following the realignment of Marysville Road, and was left to decay until its demolishment in 2008. All timber traces of the bridge were destroyed in the 2009 Black Saturday fires. The handcrafted bluestone masonry wingwalls and abutments, especially shaped to receive timber struts, rate among the earliest of its kind surviving intact in Victoria.wilks creek bridge, yarra track, narbethong, marysville, victoria, clement wilks, wood's point goldfields, jordan goldfields, john monash, monash and anderson, 2009 black saturday bushfires

A black and white photograph taken at the re-opening of the Wilks Creek Bridge picnic area and launch of Ann Thomas' book Wilks Creek Bridge.A black and white photograph taken at the re-opening of the Wilks Creek Bridge picnic area and launch of Ann Thomas' book Wilks Creek Bridge. The Wilks Creek Bridge is a former timber and bluestone road bridge on the Yarra Track, and is located just off the Black Spur route, between Narbethong and Marysville, Victoria, Australia. It was built in 1870 to the design of colonial Public Works Department engineer Clement Wilks as part of the construction of a new road to the Woods Point and Jordan Goldfields. Like many bridges of the period, it had a timber superstructure employing squared beams supported by struts and straining pieces, on cut bluestone abutments. The bridge was remodelled around 1900 by engineer John Monash of the famous bridge-engineering firm of Monash and Anderson. It was last used for heavy vehicular traffic in 1980 following the realignment of Marysville Road, and was left to decay until its demolishment in 2008. All timber traces of the bridge were destroyed in the 2009 Black Saturday fires. The handcrafted bluestone masonry wingwalls and abutments, especially shaped to receive timber struts, rate among the earliest of its kind surviving intact in Victoria.wilks creek bridge, yarra track, narbethong, marysville, victoria, clement wilks, wood's point goldfields, jordan goldfields, john monash, monash and anderson, 2009 black saturday bushfires

A copy of an early oil painting of Fernshaw in Victoria.A copy of an early oil painting of Fernshaw in Victoria by Isaac Whitehead. Isaac Whitehead (1819–1881) was an Irish-Australian artist who worked in watercolour and pastel. He was also a picture framer and art promoter. It is believed that Isaaz Whitehead emigrated to Australia with his family in either 1853 or 1858. Isaac Whitehead died at his home 50 Punt Road, Prahran, Melbourne, on 21 April 1881. Isaac Whitehead had established himself as the foremost picture framer in Melbourne by 1860, known for his highly ornate frames with floral decorations. Among the clients of his framing business were Louis Buvelot, Nicholas Chevalier, and Eugene von Guérard. In his own paintings, he painted a number of scenes of the forests of Gippsland, Victoria. His work focused on the rich landscapes with trees and ferns, with a high degree of botanical detail. His work won him two medals and his work was posthumously exhibited at 1884 Victorian Jubilee Exhibition, the 1886 London Colonial and Indian Exhibition, and the 1888 Melbourne Centennial Intercolonial Exhibition. Fernshaw was a rural township 63 km northeast of Melbourne and 10 km northeast of Healesville. Situated on the Watts River, near where a log had fallen making a convenient crossing, Fernshaw was settled in the 1860s. It provided good country for orchards and berry growing. The location was at the foot of Blacks Spur, with Mounts Juliet and Mondah rising on either side, providing spectacular scenery. There were nearby fern gullies giving rise to the name – ‘shaw’ is old English for thicket or wood. By 1875 Fernshaw had a post office (1865), two hotels, a school (1871), and stores. It was famed for its beauty, attracting tourists. In 1886 the Melbourne and Metropolitan Board of Works began work on the Watts River water catchment scheme – later to become Maroondah – and the Board obtained approval for the catchment country to be reserved and kept free of settlement. This required the removal of the Fernshaw township, which was completed by about 1890.isaac whitehead, fernshaw, victoria, louis buvelot, nicholas chevalier, eugene von guerard, gippsland, victorian jubilee exhibition, london colonial and indian exhibition, melbourne centennial intercolonial exhibition, watts river, healesville, blacks spur, mount juliet, mount mondah

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Victorian Heritage Database citation for HO57 Alnwick, 11 Railway Parade Murrumbeena https://vhd.heritagecouncil.vic.gov.au/places/35369 as at 30/10/2020 Alnwick" is situated at no. 11 Railway Parade, Murrumbeena, and was built for Sir James Patterson, former Commissioner of Public Works and Railways and Premier and Chief Secretary at the time. It is historically and aesthetically significant. It is historically significant (Criterion A) as the home of a former Premier and MLA who held a multitude of senior positions during his term of office spanning between 1870 and 1895. These positions included Commissioner of Public Works, Vice President of the Board of Land and Works, Postmaster General, Commissioner of Railways and Commissioner of Trade and Customs and Minister of Railways. Importantly, he held these offices during the period of Colonial expansion leading up to the economic crash of the early 1890s. It is aesthetically significant (Criterion E) as an early example of the Queen Anne style in Glen Eira and as an isolated early building facing the railway station in Murrumbeena.Page 170 of Photograph Album with one photograph of a house on Railway Avenue.Handwritten: Railway Avenue [top right] / 170 [bottom right]trevor hart, chimneys, verandah, porch, 1890's, alnwick, railway parade, sir james patterson, james patterson, single storey, murrumbeena station, red brick, gable, murrumbeena, railway avenue, victorian style, house names, queen's avenue, queen anne style, protruding bay windows, premiers, polychrome bricks

This set of kitchen dry food canisters is made of metal; each container has a different height, width and capacity. The rolled thin metal has created a strong, round design with decorative rings on the circumference. The base and close-fitting lid protect the contents from vermin and most insects, and the handle on top aids in the removal of the lid. Metal containers like these are reusable and can be re-purposed, which is advantageous when living in regional or rural areas. The type of manufacture indicates that the set was made in the late 19th to early 20th century. Gradually, colourful and attractive plastic kitchenware began to replace metalware. One of the canisters is labelled 'coffee'; coffee plants and seeds were transported from Brazil into Australia in 1788 when the First Fleet arrived although their growth was unsuccessful. However, by the 1920s, a tenth of the Australian population was drinking readily stored coffee. Large quantities of harvested grains such as maize, wheat and barley were protected from pests by being stored in airy buildings, often raised from the ground. This was an age-old practice used by civilizations such as the ancient Egyptians and early Hebrews. Smaller quantities of food for short-term use in the homes were stored in woven baskets or clay pots.This set of kitchen food containers is an example of colonial food storage used in a domestic setting to store and preserve dry ingredients. These canisters give a snapshot of early domestic life in Australia. Canister set; four cylindrical cream coloured metal canisters with domed lids that have lift-up handles on top. They are made from rolled metal and the bases and lids have a side seam. Each canister is a different size and displays a label for different contents. The adhesive labels are vertical, and a gold colour with black vertical text. The cream paint has brush strokes and small areas have exposed green paint under the cream. The insides of the bases are painted dark grey but the lids have no paint underneath. The empty canisters can fit one inside the other. Labels, in descending order: "FLOUR" "RICE" "SAGO" "COFFEE"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, canister set, kitchen storage, food storage, metal canisters, dry food storage, food packaging, kitchen container, vintage, flour, rice, sago, coffee, kitchenalia, late 19th to early 20th centuries, nesting canisters

A velocipede is a human-powered land vehicle with one or more wheels. Today the bicycle is the most common type of velocipede. In September 1869 Velocipede Sports were held in Ballarat. Four page printed newspaper with an articles including 'A Great Earthquake' [Lisbon 1755) and 'To My Pipe'. Includes numerous advertisements relating to Ballarat businesses.Stamped 'W.G. Chalmers"tobacco, holloway, mcgowan, freyberger, theatre royal, john stout, grocer, h anderson, watchmaker, ballarat monster tea company, e meyers, bridge street tea company, g whitty, george e jones, r benney, r wane, colonial fruit and provision company, david thomas, butcher, john buckle, tailor, w e jones, london house, j wheeler, j williams, bluchers, central tea company, pinnick and twycross, london dye works, west end venetian bliand manufactory, james allinson, saddler, wilmot oakey s self balancing bycycles, j walker, james bull, h glenny, photographer, jardine and quinn, t carrick, r lewis, j pullin, velocipede, w chalmers, chalmers, bicycle

Pedro J. Lemos was an educator and artist. He was also the editor of the School of Arts Magazine and Director of Stanford University Museum of Fine Arts. He was born in 1882 and died in 1954. This art portfolio contains ten periods of art history: Egyptian, Assyrian, Grecian, Roman, Byzantine, Romanesque, Saracenic, Gothic, Renaissance and Georgian. Some of the images are: The Temple of Luxor in Egypt, Temple of Zeus, the Arch of Titus, Gothic cathedral in Cologne, Assyrian furniture and weapons, Greek architectural decorations, Byzantine costumes, Renaissance weapons and household articles, plus much more. Blue, large, hard cover. Black tape edges and spine. Title is written in orange on front cover. Ribbon ties stitched to the edge of the cover used to close book by tying them together. Loose pages showing coloured and b/w illustrations of the ages of art. Includes fold-out text booklet with five pages. The book has a number of coloured prints of examples of art through the ages, including Egyptian, Assyrian, Grecian, Roman, Byzantine, Romanesque, Saracenic, Gothic, Renaissance and Georgian. Inside the front cover there is a plate titled "Ballarat Techincal Art School Library no. R/400". It is also stamped with the publisher's details. art, art ages, pedro j lemos, historic art, egyptian art, grecian art, roman art, byzantine art, romanesque art, saracenic art, gothic art, renaissance art, american colonial art, assyrian art, ancient costumes, ancient weapons, ancient instruments, ancient household articles, ancient furniture, ancient architectural, textile decorations

This pressed brass artefact is a highly decorative side bracket for distancing a gas lamp flame from the internal wall of a building. It is hollow and made of light gauge metal, with an innovative aesthetic design, but no internal piping to transport gas. It was recovered from the wreck of the LOCH ARD. There are similar artefacts in the Flagstaff Hill collection. The LOCH ARD left Gravesend (London) on 2 March 1878, bound for Melbourne, with a crew of 37, 17 passengers, and a diverse and valuable cargo of manufactured goods, luxury items, and refined metal. Some of the cargo was destined for display at Melbourne’s first International Exhibition in 1880. At 3 am, 1 June 1878, the ship was wrecked against the high limestone cliffs of Mutton Bird Island on Victoria’s south west coast near Port Campbell. Only two people survived the disaster — Tom Pearce, a male crew member, and Eva Carmichael, a female passenger. The cargo proved too difficult to salvage in the vessel’s exposed condition and was largely written off. The manifest of goods in the LOCH ARD’s holds included “Fittings gas (4 cases)”. The gas lighting of streets, public buildings, and the dwellings of wealthier private citizens was already well-advanced in the cities and major towns of the Australian colonies. In 1841 Sydney was the first to be gas-lit with 23 street lamps, 106 hotel lamps, and 200 private residences connected to the Darlinghurst “gasometer” by an underground network of metal pipes. “The dim days of oil and tallow are gone by!” pronounced one newspaper, flushed with civic pride. The 1850s Gold Rush promoted a similar attitude of confidence and affluence in the Colony of Victoria. In 1855 Melbourne was connected to its own system of subterranean gas pipes despite the same high rates of 25 shillings per 1000 cubic feet being charged, (reduced to 15 shillings in 1865 with cheaper sources of coal). By1858 Kyneton had its own gasworks to light the town (fuelled by eucalyptus leaves) and Geelong followed suit in 1860. Had the LOCH ARD reached its intended destination in 1878, it is probable that the 4 cases of brass gas light fittings on board would have found a ready market.The LOCH ARD shipwreck is of State significance — Victorian Heritage Register S417. The gas light bracket is an example of lamp fittings and plumbing from the late 19th century.A pressed brass lighting bracket recovered from the wreck of the LOCH ARD. It would be used for attaching, but simultaneously offsetting, a gas nozzle to a wall. Highly decorative in an unusually ‘modern’ or ‘art-deco’ style, with sweeping curves dissected by angular geometric pattern, and supporting a short, vertical bar with a gas nozzle on top. It is constructed of light gauge metal, with splitting along seams, and some delicate tracery is missing. Outer surface has been polished, removing sediment, but greenish oxidation remains in dents and joins. warrnambool, shipwreck coast, flagstaff hill, shipwrecked coast, flagstaff hill maritime village, flagstaff hill maritime museum, shipwreck artefact, maritime museum, gas lamps, gas lighting, gas works, brass fittings, gas pipes, loch ard, 1878 shipwreck, victorian affluence, colonial gas lighting

The artefact is a short cross-section of part of a functional part of a brass fitting that suspended a gas lamp, providing structural support, and internally, supplying the gas for its ignition. It combines elegant design with the elements required for safe and efficient delivery of gas. It was recovered from the LOCH ARD shipwreck site. There are similar artefacts in the Flagstaff Hill collection. The LOCH ARD left Gravesend (London) on 2 March 1878, bound for Melbourne, with a crew of 37, 17 passengers, and a diverse and valuable cargo of manufactured goods, luxury items, and refined metal. Some of the cargo was intended for Melbourne’s first International Exhibition to be held in 1880. At 3 am, 1 June 1878, the ship was wrecked against the high limestone cliffs of Mutton Bird Island on Victoria’s south west coast near Port Campbell. Only two people survived the disaster — Tom Pearce, a male crew member, and Eva Carmichael, a female passenger. The cargo proved too difficult to salvage in the vessel’s exposed condition and was largely written off. The manifest of goods in the LOCH ARD’s holds included “Fittings gas (4 cases)”. The gas lighting of streets, public buildings, and the dwellings of wealthier private citizens, was already well advanced in the cities and major towns of the Australian colonies. In 1841 Sydney was the first to be gas lit with 23 street lamps, 106 hotel lamps, and 200 private residences connected to the Darlinghurst “gasometer” by an underground network of metal pipes. “The dim days of oil and tallow are gone by!” pronounced one newspaper, flushed with civic pride. The 1850s Gold Rush promoted a similar attitude of confidence and affluence in the Colony of Victoria. In 1855 Melbourne was connected to its own system of subterranean gas pipes despite the same high rates of 25 shillings per 1000 cubic feet being charged, (reduced to 15 shillings in 1865 with cheaper sources of coal). By1858 Kyneton had its own gasworks to light the town (fuelled by eucalyptus leaves) and Geelong followed suit in 1860. Had the LOCH ARD reached its intended destination in 1878, it is probable that the 4 cases of brass gas light fittings on board would have found a ready market.The gas fitting is significant for its association with the LOCH ARD shipwreck, which is of State significance and is listed on the Victorian Heritage Register S417. The fitting is an example of a late 19th-century plumbing and light fitting.A pressed brass gas light fitting, recovered from the wreck of the LOCH ARD. The elegant and functional fitting extends from an ornate 8cm diameter ceiling flange, and comprises two short lengths of fluted column pipe with a brass joiner that are severed (cut off) at the end. Within this decorative outer layer of 3cm diameter is a full length brass tube liner, which is in turn protecting a narrow 0.75cm copper gas pipe that also runs full length. The artefact is generally unrestored with reddish/cream sandstone concretion, but is in good condition.warrnambool, shipwreck coast, flagstaff hill, shipwrecked coast, flagstaff hill maritime village, flagstaff hill maritime museum, shipwreck artefact, maritime museum, gas lamps, gas lighting, gas works, brass fittings, gas pipes, loch ard, 1878 shipwreck, victorian affluence, colonial gas lighting