The artefact is a white marble tile raised from the wreck of the LOCH ARD (1878). The cargo manifest of the sunken vessel has the entry “Marble £400”. This is placed directly following the entry “Glass (604 cases)”. This conjunction suggests the marble tile was originally part of a consignment intended for use in a ‘high end’ residential or public building project in the gold and wool rich Colony of Victoria. Traditionally, white or cream marble was imported into Britain from the Mediterranean region of Europe, where beds of sedimentary limestone (calcium and magnesium carbonate) had been buried over a long geological period of time. Deep in the earth’s crust, it had been subjected to immense pressures and high temperatures, sufficient to completely re-crystallise the original deposits. Marble beds began as layers of sediment at the bottom of ancient tropical seas, forming from the skeletal remains of calcareous fossils, shell, and coral fragments. The metamorphic process of prolonged compression and heating recrystallised this skeletal material, destroying all signs of the original sedimentary fabric. The resulting ‘true’ marbles of, for example, White Carrara (Tuscany, Italy), Verdi (green) Antico (Thessaly, Greece), and Rouge (red) Languadoc (Carcassone, France), were highly prized in classical decoration (sculpture and friezes) and architecture (temples and arches). Marble was found in nineteenth century Australia, but in small, uneconomic deposits, not suitable for commercial quarrying. The comparative expense of imported marble restricted its use in colonial buildings to carved fireplaces and mantel pieces, or outdoor ornaments such as fountains, statuary and grave stones. If Carrara marble floor tiles were used, they were used sparingly, as an arresting feature in entrance halls for instance. However, most prominent private and public construction used timber flooring, waxed or ‘japanned’, with carpet runners and rugs (for example the Austin’s Barwon Park Mansion, 1871), or laid tessellated and ceramic tiles of baked clay infused with colour (for example the Chirnside’s Werribee Park Mansion, 1878). HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The wreck of the LOCH ARD is of State significance — Victorian Heritage Register S417 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. A square marble tile retrieved from the wreck of the LOCH ARD. Most of its surface is covered by a thin layer of limestone and marine growth encrustation that is stained rust-red. The tile is ‘rough-worked’, cut to shape and size, but not smoothed or polished. There is a companion tile in similar condition in the Flagstaff Hill collection. From visual observation of the original surface (at low magnification) the tile appears to be of white Carrara-type marble.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, white marble, marble tile, carrara marble, imported marble, colonial architecture, victorian building materials

The artefact is a white marble tile raised from the wreck of the LOCH ARD (1878). The cargo manifest of the sunken vessel has the entry “Marble £400”. This is placed directly following the entry “Glass (604 cases)”. This conjunction suggests the marble tile was originally part of a consignment intended for use in a ‘high end’ residential or public building project in the gold and wool rich Colony of Victoria. Traditionally, white or cream marble was imported into Britain from the Mediterranean region of Europe, where beds of sedimentary limestone (calcium and magnesium carbonate) had been buried over a long geological period of time. Deep in the earth’s crust, it had been subjected to immense pressures and high temperatures, sufficient to completely re-crystallise the original deposits. Marble beds began as layers of sediment at the bottom of ancient tropical seas, forming from the skeletal remains of calcareous fossils, shell, and coral fragments. The metamorphic process of prolonged compression and heating recrystallised this skeletal material, destroying all signs of the original sedimentary fabric. The resulting ‘true’ marbles of, for example, White Carrara (Tuscany, Italy), Verdi (green) Antico (Thessaly, Greece), and Rouge (red) Languadoc (Carcassone, France), were highly prized in classical decoration (sculpture and friezes) and architecture (temples and arches). Marble was found in nineteenth century Australia, but in small, uneconomic deposits, not suitable for commercial quarrying. The comparative expense of imported marble restricted its use in colonial buildings to carved fireplaces and mantel pieces, or outdoor ornaments such as fountains, statuary and grave stones. If Carrara marble floor tiles were used, they were used sparingly, as an arresting feature in entrance halls for instance. However, most prominent private and public construction used timber flooring, waxed or ‘jappaned’, with carpet runners and rugs (for example the Austin’s Barwon Park Mansion, 1871), or laid tessellated and ceramic tiles of baked clay infused with colour (for example the Chirnside’s Werribee Park Mansion, 1878). HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The wreck of the LOCH ARD is of State significance — Victorian Heritage Register S417 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. A square marble tile retrieved from the wreck of the LOCH ARD. Most of its surface is covered by a thin layer of limestone and marine growth encrustation that is stained rust-red. There is a piece of corroded iron encrusted at an oblique angle on the tile’s rear face. The tile is ‘rough-worked’, cut to shape and size, but not smoothed or polished. There is a companion tile in similar condition in the Flagstaff Hill collection. From visual observation of the original surface (at low magnification) the tile appears to be of white Carrara-type marble.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, white marble, marble tile, carrara marble, colonial architecture, victorian building materials

The University of Ballarat became Federation University Australian in 2014.Black and white photograph of a University of Ballarat Hospitality Student,.university of ballarat, graduate, student, international students, indian, student activity, baking, hospitality

The Hughes’ Family Scale No. 48 is a spring balance scale. It uses the Imperial measurements of ounces and pounds. There are 16 ounces (OZ) in one pound (LB), and each pound equals approximately 454 grams in Metric measurements. Scales have been used to measure and compare items for value for centuries. A weight was placed on one side of a balance and the object was placed on the other. Adjustments were made to either the weight or the object until the balance was horizontal, which meant that each side was the same weight. The Salter family business began in 1760 with spring makers, Richard and William Salter. In the late 18th century, Richard Salter invented the spring scale, where the weight of an object on the tray of the scale causes pressure on a spring in the scale. The pressure caused by gravity was then measured to calculate the weight of an object. Spring scales are still used today along with the more recent and accurate digital scales. The company began manufacturing in West Bromwich, England, in 1770. The firm was taken over by William’s sons, John and George. In 1824, after the death of John, the firm became George Salter & Co. The company produced a wide variety of products, including Britain’s first bathroom scale and the first English typewriter. In 1884 the Salter Trademark of a Staffordshire knot pierced by an arrow was registered. After over 100 years of manufacturing, the company was bought out by Staveley Industries, which was bought by Weigh-Tronix, and then that company was bought by HoMedics Company in 2004.This scale was made by Salter, the company that invented the balance scale, the first British bathroom scale and the first English typewriter. The scale represents the domestic equipment used for measuring in food preparation over 100 years ago. Modern kitchen scales are still using the same principal, along with scales used in business and industry.Scale; a domestic spring balance scale for measuring weight from 0 to 20 pounds. The scale’s grey metal case has a round white dial on the front with black markings, an arrow indicator and a round shallow metal bowl on a pedestal at the top. The scale is raised on a rectangular metal base with outward-sloping sides. An adjustable screw is on the dome top. The scale is marked from 0 to 20 pounds, with each pound marked in 1-ounce increments. The scale is named the Hughes Family Scale No. 48 and was made in Britain by Salter.“HUGHES’ / FAMILY SCALE / No. 48” “BRITISH MADE” “TO WEIGH 20 LBS BY 1 OZ” “SALTER” above logo [knotted rope with an arrow through loops]flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, hughes, salter, british made, family scale, no. 48, spring balance, scale, weighing instrument, weights and measures, weighing machine, kitchen utensil, baking accessory, domestic equipment, cookware, bakeware, kitchen scale, kitchen accessory, food preparation, recipes, cooking, measuring

Gem irons were heated before adding batter. The design was unchanged for many years. Also known as drop scone iron.Cast iron gem scone iron, for 12 sconesgem irons, baking utensils, cooking

A collection of Christmas recipes issued by the State Electricity Commission in 1954.Part of a collection of recipe books from Laurence N. Lewis5p. Typed and photocopied text.non-fictioncookbooks, recipe books, christmas cooking

Special S.E.C tested recipes, No.2. 1960s: prepared by the Home Advisory Service of the State Electricity Commission of Victoria. Includes recipes for fish, ice-cream and cakes.Part of a collection of recipe books from Laurence N. Lewis17p. Typed and photocopied text, colour cover.non-fictioncookbooks, recipe books, fish cooking, ice-cream cooking, baking

A recipe book produced by the McAlpin's flour company. Contains mainly cake and biscuit recipes.Part of a collection of recipe books from Laurence N. Lewis41 p., illus.non-fictioncookbooks, recipe books, baking

A recipe book produced by the McAlpin's flour company. Contains mainly cake and biscuit recipes.Part of a collection of recipe books from Laurence N. Lewis64 p., illus. (some col.).non-fictioncookbooks, recipe books, baking

Used for rolling out pastryPlain turned pine rolling pinrolling pins, baking utensils, woodcraft

Content: WHC Darvall's death Mission's motor boat New central mission Institute Williamstown Rest condition LHLG and their work Thanks Opening hours AdvertisingPublished for some 30 years by the Victorian Missions to Seamen issued to supporters the series contributes to the history of the organisation. It is a key cross reference supplying many details and dates of Chaplain and LHLG activities in both Melbourne, Port Phillip and other States where Missions were gradually established and information not able to be included in Annual Reports. It is also a source of images.newsletter, victorian seamen's mission, melbourne misson to seamen, jottings from our log, lhlg, rope, flying angel, seagull, advertising, port melbourne, williamstown, sailors' home, australian wharf, seamen's institute, sailors' rest, services, concerts, events, socials, deaths, captain press, w.h.c. darvall, motor boat, geelong, boat builder, manx king, glenlui, dovenby, marion woodside, ainsdale, robert reid, bagatelle board, billiard table, sir wilmot fawkes, lady fawkes, book bags, woolies, michaelmas, 1906, ladies harbour lights guild, captain strickland, quarterly, patron, sir reginald talbot, president, archbishop of melbourne, vice president, f.t. derham, w.h. allard, frederick thomas derham (1844-1922), william henry allard (1860-1927), committee membres, archdeacon hindley, archdeacon crossley, william george hindley, owen thomas lloyd crossley, mary danne, mrs e.w. underwood, captain parsons, captain creswell, captain j.h.fearon, ethel augusta godfrey, hugh r. reid, charles blunt, ditty bags, donachy and sons, rope manufacturers, robur tea, mackenzie mustard, excelsior baking powder, admiral wilmot fawkes, bobs, games

78 pages pocket-size book of recipesnon-fictionOriginally published in 1894, this facsimile is an illuminating introduction to the difficulties faced by cooks at sea who had restricted equipment and limited or rationed ingredients. Alexander Quinlan and N. E. Mann were at the forefront of cookery training for seamen, which issued three types of certificates, depending on the size of vessel (sculling vessels, cargo steamers, or passenger steamers) and used six chief methods of cookery (roasting, baking, boiling, stewing, frying, and broiling). With 170 recipes--including gruel, beef tea, devilled bones, fruit jelly, pigeon pie, hodge podge, sheep's head broth, satisfaction pudding, bubble and squeak, and more--Cookery for Seamen is delightful nostalgia that highlights the challenges of life for the sea-going cook.cook, food, cookery, ships, seamen, liverpool, school, health, welfare, roasting, baking, boiling, stewing, frying, broiling, alexander quinlan, n.e. mann

Commonly used for rolling dough in cookingTurned wooden rolling pinrolling pin, baking utensils, woodcraft

(Previous collection, Exhibitions, Prizes, etc.) Displayed at History House. Used by (Henty?) cordial company in Portland (?)Brown glass bottle with plastic stopper. Blue, red, white and gold label. Some contents of syrup remaining in bottle. Blue Ark strawberry essence.Front: (text on label includes brand name, contents of bottle, etc...)blue ark, cooking, essence, baking, strawberry

A mixer is a kitchen utensil which uses a gear-driven mechanism to rotate a set of beaters in a bowl containing the food to be prepared. It automates the repetitive tasks of stirring, whisking or beating. Mixers for the kitchen first came into use midway through the nineteenth century; the earliest were mechanical devices. The mixer with rotating parts was patented in 1856 by Ralph Collier a tinsmith in Baltimore, Maryland .This was followed by E.P. Griffith's whisk patented in England in 1857. A circular tin used for mixing batters. The 2 beaters are of wire, with metal gears, suspended from a metal strip that fits over the tin bowl. and is clamped into place by a metal screw . A crank handle with a wooden black knob attached by a screw is turned by hand to mix the batter in the base. This tin could be secured to a table by a clamp and screw. cooking, kitchen equipment, dairy, cakes, housework, early settlers, pioneers, baking, nutrition, blacksmiths, market gardeners, cake mixers, moorabbin, cheltenham, bentleigh, brighton

An eggbeater is a hand-held device with a crank on the side geared to one or more beaters. The user grips the handle with one hand and operates the crank with the other, creating the rotary action. A hand-turned rotary egg beater was patented by J.F. and E.P. Monroe in 1859 in the US. This egg beater patent was one of the earliest bought up by the Dover Stamping Company, whose Dover egg beaters became a classic American brand. The Monroe design was also manufactured in England. In 1870, Turner Williams of Providence, R.I., invented another Dover egg beater model. The Hobart Manufacturing Company was an early manufacturer of large commercial mixers. A mechanical egg beater with a wooden handle and steel gears and crank c1940cooking, kitchen equipment, dairy, cakes, housework, early settlers, pioneers, baking, nutrition, blacksmiths, market gardeners, cake mixers, moorabbin, cheltenham, bentleigh, brighton, monroe e.p., monroe j.f., egg beaters, williams turner, dover stamping compant ltd., hobart manufacturing company ltd.

Streetscape evolutionRoll of 35mm colour negative film, 6 stripsFuji 200Ahurstbridge, shops, corrigan's newsagency, jowett real estate, heidelberg-kinglake road, stoneground bake house

Streetscape evolutionRoll of 35mm colour negative film, 6 stripsFuji 200Ahurstbridge, shops, corrigan's newsagency, jowett real estate, heidelberg-kinglake road, stoneground bake house

Ada Higginson owned the biscuit forcers.Historical: Ada Higginson and her family are pioneers of the Kiewa Valley.Large: Solid cylinder wooden roller with 1 end a wooden knob glued on and other end flat. The metal hollow cylinder fits over the wooden cylinder and has a screw cap with a hole and rim at the flat end. (This enables the disc to fit in while the food is forced through by the wooden cylinder.) There are 6 decorator, metal discs each with a different hollow pattern in the middle. This plunger has a pointy nozzle that can be attached by screwing on. Small: the same but with 7 decorator discs. Both metal cylinders have a cap at the flat end with 2 clips to hold it on, but move when you screw the cap off.The small one has a handle that is part of the cylinder but its knob looks as though it has fallen off. Old Cigar Box: 13 Discs inside and a folded yellow paper with recipes - Gingernuts & Sagasco Biscuits, in brown print.Simpson's / "Pirie", "Universal" & "Enterprise" / Biscuit Forcers domestic, cooking, biscuits, decorating, baking, icing, ada higginson

Square cardboard box with a coloured illustrated lid with 'Tala' / Icing Set / How to Ice a cake. On one side of the box - 12 icing tubes in this set; Tala Icing set containing syringe, 12 tubes, turn table, icing book no. 1730, copyright design made in England. On the other 2 sides (opposite to each other.) Let all your kitchen ware be Tala - illustrated. Turning table is tin. 200mm outer stand, circle turntable 140 mm. Book: 'How to decorate a cake booklet' - 130 mm long x 195 mm wide and 5 mm thick; Pink plastic tray indented to hold metal cones 12 cones tubes each with different opening at the point. Icing syringe (nickel silver with brass collars). Plastic icing cone, Tala ware, Made in England 320 mm long, circumference 30 mm at point x 210 mm wideSee description.cooking, baking, icing, cakes, domestic, decorating

Biscuit dough was put into the forcer/case/cylinder and the wooden pin pressed down to force dough out as a shaped biscuit. This would have been used in use in an Orbost home in the mid 20th century.This item is representative of kitchen utensils in common use in working class kitchens in 20th century prior to the common availability of packaged biscuits.Biscuit paste forcer made up of a metal barrel with a ring for hanging at top and a wooden plunger with a knob handle on top. This is shaped like a rolling pin. Biscuit mix is forced through the end of the tube to create fancy-looking biscuits.domestic kitchen food-technology biscuit- forcer baking appliances

Enamel cookware became very popular because people wanted a way of coating iron to stop metallic tastes or rust getting into food: something acid-resistant and easy to clean without laborious scouring, something more durable than the tin linings used inside copper. Enamelware dates back to 1760 in Germany.This object is significant as an example of an item in common use in the 19th and early 20th centuries.Oblong shaped enamel dish. The white enamel has been discoloured on the inside and much rust has occurred. The remains of a blue enamel line around rim.Two large rust holes in base, and a small rust hole near rim. None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, enamel, kitchenware, baking

An example of baking equipment used in Victorian times and still used to day.Spoon, wooden, blonde colour. Spoon section tapers to rounded point and handle is flat and shaped.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wooden spoon, food preparation, baking equipment, kitchen utensil

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

The spoon is an example of a utensils used in the kitchen in Victorian times and still used today.Spoon, wooden, blonde with oval spoon and rod handleflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, spoon, wooden spoon, kitchen utensil, baking equipment

In the high tech, fast paced society that we live in, it’s easy to take some things for granted. Case in point: the wood cutting board on which you’ll probably be preparing the evening’s dinner. Have you ever taken the time to think about the history of the cutting board? Where did it come from, and what did ancient civilizations use to cut their meats, fruits and vegetables? Wood throughout the ages Since the dawn of time, wood has been one of the most available materials used by mankind to build tools and lodgings, so it’s not really surprising to know that wood has been used in the preparation of food since the prehistoric ages. Of course, back then, cavemen probably used an unpolished slab of tree trunk to cut the kill of the day on and they probably didn’t think twice about saving it once the meal was over. Chances are they probably threw it in the fire with the rest of the wood needed to kindle it. Advances in technology Throughout the centuries, mankind evolved and started creating machines from steam, electricity and metal. When the circular saw was invented, nicer, cleaner slabs of wood were cut and used as cutting boards. Since soft wood was the most available type of wood at the time, it was the material of choice for to be used for cutting boards. Boards were made smaller since the slab of wood could now be cut to any desired size. Since they were made smaller, they were also used to eat off of and some people referred to them as trenchers. Trenchers were originally pieces of stale hard bread that were used as substitute plates. Wood trenchers quickly became the replacements of the eatable dinnerware. The butcher block: the cutting board’s larger cousin In the industrial ages, many industries rapidly developed, and the butchery industry followed this trend as well. Before the invention of the cutting board, butchers used tree rounds to carve their meat on. The rounds were often too soft and they rapidly became unsanitary. Hard maple wood butcher blocks were the preferred choice of the industry. They were made to be extremely thick and durable, so durable in fact, that a butcher could use the same block for almost his entire career. Cutting boards around the world As cutting boards began to be more and more used in kitchens around North America, the rest of the world crafted such boards from different materials. The East used thick bamboo as their material of choice. Despite its frail appearance, bamboo is quite strong and made durable cutting boards and butcher blocks. Europe used maple in the crafting of their cutting boards while Persia used flat pieces of polished wood in their kitchens. The world then saw cutting boards that were being made from other materials like plastic and they came in all shapes and sizes, but they always served the same purpose, to provide a household with a safe, clean surface on which to prepare meals for their friends and family members. https://www.woodcuttingboards.com/news/quick-history-of-the-cutting-board-47.aspxThe bread board is an example of kitchen equipment used during Victorian times and similar to those used today.Bread board. Wooden, octagonal, plain sanded light wood. Has decoration around edge and indented circular line to delineate round cutting board section.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bread board, cutting board, pastry board, kitchen utensil, kitchen equipment, baking equipment, food preparation

Dough was put in forcer/case/cylinder and wooden pin pressed down to force dough out as a star-shaped biscuit. In use in a working-class home in the mid 20th century.Representative of kitchen utensils in common use in working class kitchens in 20th century prior to the common availability of packaged biscuits. Tin/metal outer cylinder/case/open one end, lid other end, with star pattern (can be removed for washing). Inner wooden pin or forcer, knob on end to be pushed into metal cylinder to force dough out through patterned disc.domestic, kitchen, food, technology, biscuit, forcer, baking, woman s, work, appliances

Mixing bowls of this design were a common item in Austrailan kitchens in the late 19th and early 20th centuries. Women worked largely in the kitchen producing three meals daily for their families and, on farms, for the workers or casual labourers.Local significance for the history of women's work, especially the domestic duties of baking and cooking. Round, cream-coloured, ceramic mixing bowl with pouring lip, fluted design.baking, cakes, mixing bowl, kitchenware, women s work, domestic utensils, home cooked meals

Enamel cookware became very popular because people wanted a way of coating iron to stop metallic tastes or rust getting into food: something acid-resistant and easy to clean without laborious scouring, something more durable than the tin linings used inside copper. Enamelware dates back to 1760 in Germany.This object is significant as an example of an item in common use in the 19th and early 20th centuries.Oblong grey enamel dish. White speckles.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, enamel, kitchenware, baking

Tile baking has long been an important industry in The Netherlands with tiles produced for walls and floors as well as at individual requests to commemorate an event or special occasion.A white ceramic tile hand painted in brown with figures of a farming couple from Brabant, a verse, a coat of arms, the words "Noord-Brabant" and various decorative designs. Faintly visible on the back are the ink-stamped words: "plateelbakkerij schoonhoven" (a ceramics factory in Schoonhoven). A handwritten inscription reads: "Sjaan en Ad van Wanrooy, Erp, Nederland. 30 November 1980".tiles, dutch, brabant