A mass produced utilitarian item believed to have been made for domestic use in the Stoke-on-Trent area of England, no history or manufacturing provenance currently available makers mark unable to be identified at this time. Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's - Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps. All this adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.Item at this time cannot be associated with an historical event, person or place, provenance is undetermined, item assessed as a collection asset given it was produced before 1950.Toilet article container base, porcelain with blue decoration on white backgroundRd No 58105 (year 1911) Orchid W.& W. on baseflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, toilet container base, toilet article, grooming article

This machine was made in Baden, Germany, for the Ward Brothers of Melbourne, who imported machines from various manufacturers and had them branded with their Ward Brothers decals. This machine is most likely dated after 1911, when the Ward Brothers became two separate businesses, as there are only remnants of two portrait decals on the machine bed. There is a fitted embedded ruler in the wood of the base. Many sewing machine manufacturers in Germany produced their machines specifically for export. A company could mass-produce its machines and give the same product several different brand names, according to their overseas buyers. There was a huge market for domestic machines as it enabled tailored clothing to be made in households at a fraction of the retail prices. Ward Brothers began in Australia in the late 1890s and early sewing machines sold by them had the three brothers on their decals. In 1911 the brothers divided into two separate firms, one operating on his own, the other two remaining together, and all still operating in Melbourne and at first still using the name Ward Brothers.This sewing machine is one of two hand-operated Ward Brothers machines in our collection that were made in Baden, Germany, and the only one that has the two Ward Brothers on its decal and that has side to side slide plates. This machine represents the early domestic market for sewing machines, making it possible for the everyday homemaker to produce fashionable garments and linen ware that was affordable. The owner of this machine could work at more than one location as it was portable and did not require a large space to set up. The machine is associated with the well-known Ward Brothers of Melbourne, who sold imported sewing machines that were branded with their own name.Sewing machine with case. The black-painted metal machine is hand-operated and the crank handle is wooden. The machine is on a wooden base and has a box included that contains many machine accessories. Made in Baden, Gemnamy, for Ward Brothers of Melbourne. There is an attached metal plate on the front with rows of groups of numbers on it. The wooden bed has an embedded ruler. The machine had decals with geometric designs and the maker's name.Printed in script: "Specially made in Baden / by Ward Broth Melbourne"flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, sewing machine, hand operated, domestic sewing, homemade clothing, fashion, ward brothers, made in germany, baden, front and rear slide plates, post wwi, post 1911

The catalogue includes twenty-one diverse types of bottles ranging from beer, soft drink and chutney bottles to bottles designed to hold perfume, medicines and poisons. They appear to range in date from the nineteenth to c.mid-twentieth centuries and represent various types of mass-produced consumer goods that were commonly available at the time. The five different types of bottles included in 0156.5 are made of clear glass with tapered necks and narrow openings to facilitate pouring. One can be positively identified as an imported mineral soda water/soft drink bottle because of the marble stopper in the neck and thickness of the glass. The globe-stopper bottle, also known as a ‘Codd’ bottle, was invented by English engineer, Hiram Codd in 1873 for holding gaseous soft drinks. The thick glass could withstand the pressure of the contents as well as repeated bottling by manufacturers. The bottles were probably used by former lightkeeper households. and tapered, narrow necks. The older ‘porter’ has a slightly bulbous neck. The bottles were probably used by former lightkeeper residents. Five glass bottles. Four are clear glass and one has coloured to green.

Resinol is used to treat several different types of skin ailments. Resinol was developed by Dr. Merville Hamilton Carter (1857-1939) in his private practice as treatment for his patients in Baltimore, Maryland during the late 19th century. In 1895, Carter, along with his brother Allan L. Carter and his cousin Henry Stier Dulaney founded the Resinol Chemical Company and began to mass-produce the ointment and other medical products. After over forty years of selling Resinol, the company had John H. Buffham & Co. as an outlet in Great Britain and was a successful global distributor. Henry LeRoy Carter Sr., the son of Dr. Carter, began running the company after the deaths of his father and other staff members. The company's sales began to decline in the 1940s, and after the death of Henry LeRoy Carter Sr. in 1951, his son Henry LeRoy Carter Jr. took the place of his father and grandfather as president of the Resinol Chemical Company. At that time, the company focused more on soap manufacturing, but continued to sell Resinol. For the rest of the 20th century, Resinol's popularity continued to dwindle. It was purchased by ResiCal Inc. in 2002.A clear glass jar with a metal screw top containing 'Resinol' antipruritic and sedative ointment. Lid : ‘RESINOL’ / ( Ungt Resinol) / ANTIPURITIC AND / LOCAL SEDATIVE / A Soothing Preparation THAT PROMOTES HEALING/ OF SKIN IRRITATIONS/ Prepared Only By/ RESINOL CHEMICAL CO. / BALTIMORE MO / USA.. Jar : THIS IS REAL RESINOL/ Beware of substitutions……….. / RESINOL/ For relief of Itching, Chafing, Dandruff Scales, /…………/ Chemically Pure………….pharmacy, medicines, thars ointment, thar chemical company, hospitals, nursing, containers, moorabbin, bentleigh, cheltenham, melbourne, baltimore usa, resinol chemical company, skin diseases, maryland usa, carter merville hamilton, buffham company england

When scrimshaw is mentioned, most people think of carving on sperm whale teeth only. But scrimshaw also includes engravings on skeletal whale bone–such as the jaw bone, called panbone–and ivory from other marine mammals such as walrus. Although scrimshaw is widely associated with nautical themes and designs of the 19th century whaling industry, vintage scrimshaw was also produced as tribal art in many cultures. Today, scrimshaw is recognized as a unique medium in which present-day artists have developed their own modern themes. Scrimshaw reproductions may take several forms. There are - New carvings on genuine ivory or bone with the deliberate intent to create an "antique” - New carvings on genuine ivory or bone sold as signed and dated contemporary art - Clearly marked synthetic museum reproductions and mass marketed - Unmarked synthetic replicas Painstakingly carved deliberate replicas are directed towards the scrimshaw collector and seldom appear in the general market. Pieces of contemporary art and museum copies are usually clearly marked and openly sold for what they are. The biggest problems in the general antiques market are the mass produced synthetic reproduction pieces, such as this item, that can be mistaken for the genuine item. The scrimshaw is a modern reproduction of a typical scrimshaw scene and engraved onto a synthetic substance. It has been created as a decorative piece and is currently displayed as a representation of the craft of scrimshaw.Scrimshaw carved on a non-natural material in the shape of a whale tooth. Engraving depicts a grizzly bear with two cubs next to a fallen tree. Nonewarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, craft work, carving on bones, whale bone carving, engraving, scrimshaw, carving, reproduction scrimshaw

This item is part of the Giles Collection, dating back to the late Victorian era, from the 1880s to the early 1900s, 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 hangings that enjoyed the height of their popularity during the Victorian era were of the spiritual type with 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 “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, enamelled 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. The Giles Family 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 the Giles Family and are known as the “Giles Collection”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as a family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940.The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established. This wall decoration 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. Printed card wall hanging with floral design. Religious text on the sign is embossed onto the card and highlighted in silver print. There is a handwritten ink inscription, and a pencil inscription, on the back. A string is attached to two holes on top of the card. Embossed"THE BLESSING / OF THE LORD/ BE UPON YOU." "PS 129.8." In pencil "H/S" In ink "To dear Granny with lots of love / from Dorothy. X X."flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, paper wall decoration, religious, home decoration, societal values, victorian moral values, wall hanging, wall decoration, spiritual decoration, bible verse, giles collection

This machine was made in Baden, Germany, for the Ward Brothers of Melbourne, who imported machines from various manufacturers and had them branded with their Ward Brothers decals. This machine is most likely dated before 1911, when the Ward Brothers became two separate businesses, as one of the decals appears to have been deliberately removed. The case is made in an attractive design and the machine itself has decorations that are pleasant to the eye. Even the metal cover of the folding handle has a swirling design on it. The machine has the added bonus of a ruler along the front base. Many sewing machine manufacturers in Germany produced their machines specifically for export. A company could mass-produce its machines and give the same product several different brand names, according to their overseas buyers. There was a huge market for domestic machines as it enabled tailored clothing to be made in households at a fraction of the retail prices. Ward Brothers began in Australia in the late 1890s and early sewing machines sold by them had the three brothers on their decals. In 1911 the brothers divided into two separate firms, one operating on his own, the other two remaining together, and all still operating in Melbourne and at first still using the name Ward Brothers.This sewing machine is one of two hand-operated Ward Brothers machines in our collection that were made in Baden, Germany, and the only one that has had the three Ward Brothers on its decal, and that has front and rear slide plates. This machine represents the early domestic market for sewing machines, making it possible for the everyday homemaker to produce fashionable garments and linen ware that was affordable. The owner of this machine could work at more than one location as it was portable and did not require a large space to set up. The machine is associated with the well-known Ward Brothers of Melbourne, who sold imported sewing machines that were branded with their own name. Sewing machine, hand operated, in wooden case. The machine is painted black with gold decals, and front and rear slide plates. The wooden base of the machine has an inlaid ruler. The case has curved sides and shaped ends, decorative woodwork on corners, an inlaid diamond pattern on top, and a folding metal handle. Accessories are included. The decals include doves, inscriptions and swirls, and there is a map of Australia with two portraits of men. The machine was made in Baden, Germany, for Ward Brothers, Melbourne. Images: Map of Australia with States marked, and with portraits of two men. [A portrait-sized area on the left of the men has had the image removed.] Text in printed script: "Specially / Made in Baden" "WARD BROTHERS / MELBOURNE" " with a Logo is a map of Australia,flagstaff hill, warrnambool, great ocean road, sewing machine, hand operated, pre-1911, domestic sewing, homemade clothing, fashion, ward brothers, made in germany, baden, front and rear slide plates, crank handle, hand crank sewing machine

For about 40 years the corner of Hargraves and Williamson Streets in Bendigo in rural Victoria had been known for its arresting aroma. From a hole in a window wafted the smell of Gillies Brothers' meat pies.The Gillies window, along with the nearby Shamrock Hotel, ANZ Bank and Post Office, was one of the delights of Bendigo and proof that mass-produced food can still be delicious. Gillies went from strength to strength, surviving listing on the second board and a handover to a younger generation of managers.Gillies had three factories, 10 shops in rural Victoria and Melbourne. Les Gillies, one of three brothers who founded the baking business after the difficult drought years preceding 1950, admits that the company has not always been run along the most modern business methods. Change began with the preparation of a business plan subsidised by the Victorian Department of Industry, Technology and Resources in 1974. Prepared by Cruickshanks, the plan formed the basis of the company's float on the second board. Capital expanded to $4.4 million. In 1988, a second plan was produced by Chris Mason and Associates covering business, marketing, computer utilisation and human resources. This factory for Gillies pies originally opened in the 1950s, but has sadly been closed and abandoned since about 2006.CD Gillies History Photos containig 11 photos of shops, staff and factories in Bendigo.bendigo, business, gillies bros, gillies pies

The Hoffman company was established in 1870 to mass-produce bricks using the Hoffman patent kiln and the Bradley and Craven brick press. Once established the company entered a period of expansion aided by Melbourne's building boom from 1870 to 1890. During this time approximately ten brick machines were in operation producing some 18,000 bricks per hour. An extensive pottery works were established initially supplying mainly tiles and drainpipes and later domestic pottery such as the company's Melrose ware. The company even had its locomotive shunt the works siding which connected with the Victorian Railways at South Brunswick. By 1890 Hoffman was the largest brick and pottery works in Victoria, however, the 1890s depression halted company expansion. The company joined the Brick Co-operative when it was formed in 1896. The cooperative regulated prices and output from member brickworks. As the depression ended business picked up and the works were expanded to increase the production of stoneware pottery, especially domestic wares. The brickworks, however, never recovered the momentum of the early period. During the 1920s and 1930s, the works gradually ran down, and following the Second World War, production reached an all-time low. The No.1 works were stripped and sold. (For further information regards Hoffman Kilns see note section of this document.) An item made in Melbourne by at the time the largest pottery works in Australia making industrial and domestic wares for the home and building industries. Stoneware Demijohn jug with cream and brown glaze. Printed around base of jug, MELBOURNE, 1929"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jug, melbourne, 1929, stoneware jug, hoffman potteries

A hat pin is a decorative pin for holding a hat to the head, usually by the hair that was styled in a Chignon or French Roll style and usually worn in a pair. They are typically around 20 cm in length, with the pinhead being the most decorated part. The hatpin was invented to hold veils in place, and was handmade. Birmingham, England was the centre of production when demand eventually outgrew the number that could be supplied by hand-making and they also began to be imported from France. In 1832, an American machine was invented to manufacture the pins, and they became much more affordable. During the 1880s, bonnets gave way to hats, some of which were very large and the popularity of hatpins soared. In the Victorian era, when appearance was everything, it just wouldn't do for a fashionable lady's hat to blow off in the wind. They remained a standard women's' accessory through the 1910s and were produced in a vast range of materials and types. Hat pin holder boxes were also produced. One of the most well-known makers of hatpins is silversmith Charles Horner, of Halifax, whose turn of the century jewellery company became a leader in the market by creating a series of mass-produced pins that were still of exceptional quality. As a result, thousands of Horner's pins are still on the market and on display in museums worldwide. Women of the 1920’s used hat pins as decoration on their Cloche hats that fitted snugly to their heads. The women of the pioneer families liked to dress up in their best hand made dresses and fashionable hats for Church gatherings and special occasions as a relief from the daily chores of hand washing, ironing with flat irons and cooking over open fires.2 lady's long steel hat pins with sequents in a flower design on mauve material bonnets, hats, veils, scarves, moorabbin, bentleigh, brighton, cheltenham, early settlers, pioneers, clasps, hairdressing, combs, steel pins, jewellery

A spokeshave is a hand tool used to shape and smooth woods in woodworking jobs such as making cart wheel spokes, chair legs, paddles, bows, and arrows. The tool consists of a blade fixed into the body of the tool, which has a handle for each hand. Historically, a spokeshave was made with a wooden body and metal cutting blade. With industrialization metal bodies displaced wood in mass-produced tools. Being a small tool, spokeshaves are not suited to working large surfaces. The name spokeshave dates back to at least the 16th century, though the early history of the tool is not well documented. The name spokeshave reflects the early use of the tool by wheelwrights. The first spokeshaves were made of wood usually beech with steel blades, before being largely superseded by the development of metal-bodied spokeshaves in the latter half of the 19th century, though many woodworkers still use wooden spokeshaves. Due to their widespread use and versatility vintage wooden spokeshaves remain commonly available and relatively low in price. Spokeshaves consist of a blade or iron secured to the body or stock of the tool, which has two handles one for each hand. The bottom surface of the tool is called the sole. The blade can be removed for sharpening, and adjusted to vary the depth of the cut. An early design consisted of a metal blade with a pair of tangs to which the wooden handles were attached, as with a draw knife. Unlike a draw knife, but like a plane, spokeshaves typically have a sole plate that fixes the angle of the blade relative to the surface being worked. There are a wide variety of different types of spokeshave, suited to different trades and applications. A now vintage tool made by an Australian manufacture in NSW who specialised in making pruning shears, hacksaw frames and heel shaves under the Erskin brand name. This tool is now sought after by collectors even though it was probably made in the first quarter of the 20th century. It gives a snapshot of how carpenters work with wood by hand showcasing their craftsmanship. Hollow face Spokeshave, metal body with black enamel finish. Erskin stamped on frontflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, spokeshave, cabinet makers tools, wood working, cutting tool, shaping tool

Large stoneware hot water bottle also called a foot warmer. The stoneware hot water bottle has a rubber cap, often the original stone cap would be replaced with a cork alternative to seal the hot water. Because they were mass produced and very robust many survived so the antique value is not great. Many stoneware hot water bottles are still in use today and will be for years to come. Stoneware is a certain clay fired at a particularly high temperature and glazed so that it resembles polished stone.The bottle was filled with hot water, close the stopper securely and stand them in a bed, upright, on their small flat ends so that the sheets and blankets formed a tent-like structure over them. The peak of the 'tent' was the special feature of the rounded knob opposite the flat end, which also served as a carrying handle. Used this way, the hot water bottle was supposed to heat more of the bed Josef Hoffmann (1870–1956) attended the Academy of Fine Arts in Vienna and studied architecture under Otto Wagner. As a designer, Hoffmann was creative and prolific. His design portfolio encompassed commissions for buildings and interiors but extended to things as diverse as textiles, umbrella knobs, walking stick handles, tea pots, caskets and book covers as well as glass and ceramics.In 1903, with Koloman Moser and financier Fritz Waerndorfer, Hoffmann founded the Wiener Werkstätte. The collaboration of artists, designer architects and artisans enabled the realisation of the ‘total artwork’. Hoffmann’s designs were based on simple and clear proportions and employed rich, high-quality materials. Everyday objects were conceived as part of a whole living environment and were considered works of art. A large earthenware hot water bottle.HOFFMANNearly settlers, moorabbin mckinnon, ormond, bentleigh, pottery, craftwork, earthenware, pioneers, hoffmann josef, waerndorfer fritz, moser kololan, weiner werkstatte, vienna, austria, brumpton frances

The toy soldier is a relic from the shipwreck of the LOCH ARD in 1878. It has a companion piece in the Flagstaff Hill collection. The toy soldier is unpainted, but the style of uniform, and the weapons carried (a musket and a basket-handled cutlass), indicate it is a representation of the Napoleonic Wars period from the beginning of the nineteenth century. Mass-produced toy soldiers made of cast metal (lead or tin) became popular during the 1800s. Heyde of Germany manufactured silhouette-shaped ‘flats’ early in the century; then Mignot of France released three-dimensional ‘solids’; and later (1893) Britain of England made ‘hollow cast’ figures. These innovations were designed to make sets of toy soldiers more affordable for middle and lower-class children, extending the market beyond the intricately made and hand-crafted replicas that were the preserve of the rich in the eighteenth century. Wooden military figures, specially carved and unpainted ones, were therefore not particularly common at the time when the LOCH ARD went down on Victoria’s southwest coast. Mignot was the first to sell unpainted soldiers, leaving their customers to fill in the colours according to their own patriotic preferences. If a similar attitude is assumed for the two virtually identical figures in the Flagstaff Hill collection, it is possible they were part of a new set intended for sale, rather than part of a passenger’s existing collection. A similarly light composite material of sawdust, glue and linseed oil (press-moulded onto a metal frame) was used by the German firm O & M Hausler to create toy soldiers, but this type of modelling was not commercialised until after 1912. The first heat-moulded plastic toy soldiers did not become available until after 1945.The toy soldier represents a 19th century child's interest in military history. The item is one of two toy soldiers recovered from the Loch Ard that are in Flagstaff Hill's collection. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.An unpainted replica or toy soldier, presented in a Napoleonic Wars era uniform. The moulded figure is in a standing posture and is bearing a musket at the slope-arms position, with a sabre or cutlass slung behind. It wears a plumed helmet, short-fronted coat with longer buttoned tails at the back, button-fastened bib-front trousers, a pair of crossed bandoliers, and tasselled shoulder epaulettes. The figure is a creamy colour with red-brown stains on the head and shoulder. There is a hole in the end of the musket. The model is detailed and sharp. It was recovered from the wreck of the Loch Ard.Cataloguing numbers: “6599” on the rear of the left trouser leg “PWO 2308” on the sole of the left boot, (partially obscuring “R122” written in biro) “2218” on the sole of the right boot.flagstaff hill, warrnambool, loch ard, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, napoleonic uniform, toy soldier, replica soldier

These two framed model ship plans are from more than 650 produced for the LOCH ARD Centenary (1878-1978) Commemoration Committee. These plans were originally researched, designed and distributed in 1977 to assist entrants in the Committee’s Ship Model Competition. The competition was arranged as a means of creating public interest and awareness for the 100th anniversary of the tragic LOCH ARD shipwreck on Victoria’s south west coast in 1878. The main subject specified for modelling was “The Loch Ard ― Iron Wool Clipper 1873”. “The plans were drawn by Mr P Webb to the order of the Committee through Mr P Williams, organizer of the competition. The details were based on all available information which resulted in considerable historical research…and received favourable comment from model makers because of their attention to detail…In excess of 650 sets of plans were sold before entries closed…Many plans were probably purchased by collectors and interested persons for historical reference. An illustrated historical story sheet…was prepared and enclosed with the plans…” (‘Loch Ard Shipwreck Centenary 1878-1978 Report’, November 1978). An example of the attention to historical detail delivered on the plans is the inclusion of the following useful information about the original vessel: “Tonnage….1,693 G.R.T., 1,624 N.R.T. Builders….Charles Connell & Co., Ltd., Scotstoun, 1873. Owners….General Shipping Co., Glasgow, (Aitken Lilburn & Co., Ltd.)”. The quality of research and drafting makes these framed copies of considerable interpretive value to related items from the LOCH ARD shipwreck on display at Flagstaff Hill. They were originally mass produced but are now out of print. Flagstaff Hill retains other (unframed) copies in storage. The plans, in conjunction with the scale Ship Model of the LOCH ARD also on display, are of interpretive significance to Flagstaff Hill Maritime Village. The plans provide historical and technological context to artefacts from the shipwreck, increasing understanding and appreciation of those objects. 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. Two framed model ship plans of the LOCH ARD. These are detailed and researched plans from the original vessel, drawn to scale and printed on good quality paper, and framed behind glass to be hung on display. One slightly smaller plan “Lines, Decks and Details” portrays the hull lines as a body plan (straight on at the bow), a sheer plan (full side view), and a half breadth plan (a top-down view of deck to keel), as well as two top-down views of the upper decks and main deck with fittings and details of specific fixtures. One slightly larger “Sail and Rigging Plan” presents a side on, above deck view of masts and shrouds and a front on, above deck view showing “Elevation of Mainmast Looking Aft”. Each plan bears the draftsman’s initials and date of completion (“P.A.W. 10/77”). The larger plan also includes a boxed label attributing the project to the “LOCH ARD CENTENARY Commemoration Committee Ship Model Competition.”Smaller plan: heading “LOCH ARD: LINES, DECKS and DETAILS”; initials “P.A.W. 10/77”. Larger plan: heading “LOCH ARD: SAIL and RIGGING PLAN”; initials “P.A.W. 10/77”; label “LOCH ARD CENTENARY Commemorative Committee Ship Model Competition”. 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, ship model plans, loch ard model plans, sailing ship, loch ard centenary

This external horn is part of an Edison Fireside Phonograph made in c.1909. The horn was attached to the machine when in use. The rings on the side of the horn allowed the horn to be suspended above the machine. The narrow opening on the horn was attached to the sound outlet on the machine and the conical shape of the horn amplified the sound. The horn was suspended to allow a clear sound. This was done by attaching the ring fitted to the outside of the horn to a chain or chord, which in turn was attached to a curved wire fitted to the phonograph machine. The phonograph machine was invented by Thomas Alva Edison in the late 19th century. Edison adapted the idea used when sending messages over a telegraph machine. He patented the phonograph in early 1878. The phonograph was able to record sound and play it back sound. This amazing invention opened up a whole new world of entertainments, where wax cylinders of pre-recorded sound could be purchased with a wide variety of music and played over and over. The first wax cylinders were white and used a combination of bees' wax and animal fax or tallow. By 1892 Edison was using 'brown wax' cylinders that ranged from cream through to dark brown. The Edison Phonograph Company was formed in 1887 to produce these machines. He sold the company in 1855 to the North American Phonograph Company but bought that company in 1890. He started the Edison Spring Motor factory in 1895 and then the National Phonograph Company in 1896. In 1910 the company became Thomas A. Edison Inc. In 1898 Edison produced the Edison Standard Phonograph, the first phonograph to carry his own trade mark. He began mass producing duplicate copies of his wax cylinders in 1901 using moulds instead of engraving the cylinders. The wax was black and harder than the brown wax. The ends of the cylinders were bevelled so that the title's label could be added. The last phonograph machine to use an external horn was produced in 1912 due to the much more robust records being invented. In 1913 Edison started producing the Edison Disc Phonograph. The company stopped trading in 1929. [NOTE: a phonograph machine plays cylinders, a gramophone plays records]This Edison external phonograph horn is significant for its connection to the c.1909 Edison Fireside phonograph model. The phonograph machine brought a new era of music into the homes of everyday people but was only popular for a few decades due to the growing popularity of records, which gave a much higher quality sound and were more robust.Phonograph horn; open horn, a conical shape with the lower part flaring out. The horn's shape on the opening half is octagonal, made from eight joined sheets of metal with a scalloped finish at the opening. The narrow end is hollow and ready to fit onto a phonograph outlet. There are two rings attached together on the side of the horn, perhaps for storing on a hook. The inner surface of the horn has remnants of deep red paint. This horn is from the Edison Fireside phonograph. (There is a mark on the outside of the horn where the Edison brand would be)flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck coast, gramophone, phonograph, music player, entertainment, audio equipment, edison, thomas a edison, horn, phonograph horn, amplifier, audio, sound recording, sound playback, phonograph machine, external horn, edison phonograph company, wax cylinders, edison spring motor factory, national phonograph company, thomas a. edison inc, phonographic cylinder, sound reproduction

The subject item is believed to be a "Chinese style stoneware liquor bottle used to store "Tiger Whiskey" (rice wine). These Chinese liquor bottles are made of glazed pottery known as brown stoneware and have been made throughout the centuries by many makers until well after American Prohibition. Later varieties from the mid 20th century are commonly found in the USA with the raised lettering "Federal Law Forbids Sale Or Re-use of this bottle" a sure sign of post-1934 manufacture. This example is interesting as it has a British Minton mark of two triangles on the base indicating a date of 1879 and was likely exported to Australia by Minton. These ceramic bottles virtually always have irregularities and flaws which indicate a product has been hastily manufactured, in any event, this is a fine example of a relatively common item that may have been copied by Minton and sold as a decorative domestic item for display or mass produced for storing liquor. Giles Family: The pair of ceramic bottles were given to Vera Giles by Jim Thompson and are just 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. A significant item of lead-glazed ceramic with the possibility it was made by the Minton potteries in England who were renowned for making quality pottery. The item style is in all probability a copy of a Chinese liquor bottle that was in common use throughout the British colonies and America up until the mid 20th Century. The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established.Chinese liquor bottle one of a pair, lead glazed ceramic, dark brown and blue/black. Part of the Giles Collection.Mark of a double triangle, apex touching, on base, (Minton mark for 1879).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, vase, pottery, ceramic ornament, domestic ware, late 19th - early 20th centuy ornament, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods

The subject item is believed to be a "Chinese style stoneware liquor bottle used to store "Tiger Whiskey" (rice wine). These Chinese liquor jugs are made of glazed pottery known as brown stoneware and have been made throughout the centuries by many makers until well after American Prohibition. Later varieties from the mid 20th century are commonly found in the USA with the raised lettering "Federal Law Forbids Sale Or Re-use of this bottle" a sure sign of post-1934 manufacture. This example is interesting as it has a British Minton mark of two triangles on the base indicating a date of 1879 and was likely exported to Australia by Minton. These ceramic bottles virtually always have irregularities and flaws which indicate a product has been hastily manufactured, in any event, this is a fine example of a relatively common item that may have been copied by Minton and sold as a decorative domestic item for display or mass produced for storing liquor. Giles Family: The pair of ceramic bottles were given to Vera Giles by Jim Thompson and are just 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. A significant item of lead-glazed ceramic with the possibility it was made by the Minton potteries in England who were renowned for making quality pottery. The item style is in all probability a copy of a Chinese liquor bottle that was in common use throughout the British colonies and America up until the mid 20th Century. The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established.Chinese liquor bottle one of a pair, lead glazed ceramic, dark brown and blue/black. Part of the Giles Collection.Mark of a double triangle, apex touching, on base, (Minton mark for 1879).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, vase, pottery, ceramic ornament, domestic ware, late 19th - early 20th centuy ornament, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods

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

The Ferranti Sirius is an electronic second-generation transistor computer and is one of three remaining examples of this machine left in the world. It was an important addition to the computing facilities at Monash University in the early 1960s and provided access for computer programming and research for many early computer professionals, academics and teachers. The Ferranti Sirius computer was built in a period of rapid growth in computing technology. The first stored program computers appeared in the late 1940s and used individual designs with valve technology. By the mid-1950s valve technology was replaced by transistors and the first mass produced commercial computers became available. The Ferranti Sirius was announced in 1959 and offered a “small” academic computer. It was designed and built by the English company Ferranti Ltd and sold through a local office of the company in Melbourne. The Sirius was manufactured at the Ferranti Ltd.’s West Gorton, England factory from 1959 to 1963 and, in all, the company produced probably 22 installations although only 16 were actually recorded as sold; this included one at Ferranti’s Bureau in London and one at Ferranti’s Melbourne Bureau. Only 7 were exported and 4 of these 7 were located in Melbourne, Australia. All four were associated with computing at Monash University – the Sirius in the MMoCH collection was purchased by Monash University in 1962, a smaller Ferranti Sirius was used on the Caulfield campus (prior to amalgamation with Monash University) from 1963, the Ferranti company had its own Ferranti Sirius initially temporarily installed at Clayton campus in 1962 and then placed in their office in Queens Road, Melbourne. A fourth computer was purchased by ICIANZ (now Orica) in 1962 and was transferred to Clayton campus in 1967. Only two of these Melbourne examples have survived; one in the MMoCH collection and one at Museums Victoria. There is an example of the Ferranti Sirius in the Science Museum Group collection in the UK as well. The Ferranti Sirius in the MMoCH collection was the first computer purchased by Monash University and it was shipped to Australia to be installed by November 1962. The University had a similar model computer on loan from Ferranti Ltd during the first part of the year and it was returned to the office of the company in Queens Road, Melbourne once the University’s own machine was installed. The computer was placed on site at Clayton campus, Monash University. The computer operated from 1962 until 1972 when it was officially decommissioned. The Ferranti Sirius was sold to Mr Paul Stewart in late 1974 and removed from Monash University. Mr Stewart later donated the computer back to the University in 1988 and it was transferred to the collection of the Monash Museum of Computing History after 2001. The Ferranti Sirius is an electronic second-generation transistor computer and is one of three remaining examples of this machine left in the world. It was an important addition to the computing facilities at Monash University in the early 1960s and provided access for computer programming and research for many early computer professionals, academics and teachers. The Ferranti Sirius is of scientific (technological) significance as one of the early transistor digital computers that transitioned computing from first-generation valve computers to second generation commercial installations. This example of the Sirius is of historical significance in its role as a part of the Computer Centre, Clayton campus, Monash University which provided computing facilities in Melbourne in the early 1960s when there were few installations available for academic, administrative and commercial users. Staff and students were able to undertake investigative research and learn programming techniques. The Computer Centre encouraged the use of the computer across all disciplines and this provided the base to establish computer science as a subject offering and, later, a new department in the University. This growth in computer education eventually culminated in the establishment of the Faculty of Information Technology, Monash University. The Ferranti Sirius in the collection at Monash Museum of Computing History has a main unit with a CPU and memory combined with input/output equipment and one extra cabinet of memory. The Central Processing Unit is a floor-standing unit which contains the computer circuits, power supplies and has a decimal digit display panel and a normal clock. A moveable control panel is placed in front of the Unit (Currently set on a recreated desk/filing cabinet support in the display). The Sirius base unit uses acoustic delay line memory with 1000 word store. An additional 3000 word memory cabinet is set adjacent to the CPU and can be connected to increase the memory. The computer is supported by a range of input/output devices. There is a Ferranti Paper tape reader, located on desk in front of CPU. Red label on front “Ferranti tape reader. Type TR 5. Serial No. 477”. Adjacent to the CPU is a set of Simplified tape editing equipment in three pieces which includes a (1) Table unit with switches on front face. Metal tag on reverse reads “Creed & Co. Model No. S4060. Serial No. 1457. Original Customers Marking GRP7 V706”. The table has a numbered internal tag “Table Serial No. 198579. (2)Creed teletype set on table unit. Metal tag on reverse “Creed & Co. Model No. 75RPR K4M4. Serial No. 5897 Made in England”. (3)Creed paper tape reader set on table unit. This set of equipment could read paper tape and print it, or copy paper tape while allowing it to be edited, or allow a programmer or data preparation person to type and punch a new program or data. It has no electrical connection to the computer. Paper tapes were usually torn off and carried across to the computer. There is also another table unit with switches on front face and changeable setting switch on front right side which holds a Ferranti Westrex paper tape punch set. Label on reverse “Teletype Code BRPE11” This was the Computer’s only output device. BRPE-11 is a teletype model number.

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair wooden varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned wood. Back rest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair wooden varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned' wood. Backrest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned wood. Back rest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

A spokeshave is a hand tool used to shape and smooth woods in woodworking jobs such as making cart wheel spokes, chair legs, paddles, bows, and arrows. The tool consists of a blade fixed into the body of the tool, which has a handle for each hand. Historically, a spokeshave was made with a wooden body and metal cutting blade. With industrialization metal bodies displaced wood in mass-produced tools. Being a small tool, spokeshaves are not suited to working large surfaces. The name spokeshave dates back to at least the 16th century, though the early history of the tool is not well documented. The name spokeshave reflects the early use of the tool by wheel wrights. The first spokeshaves were made of wood usually beech with steel blades, before being largely superseded by the development of metal-bodied spokeshaves in the latter half of the 19th century, though many woodworkers still use wooden spokeshaves. Due to their widespread use and versatility vintage wooden spokeshaves remain commonly available and relatively low in price. Spokeshaves consist of a blade or iron secured to the body or stock of the tool, which has two handles – one for each hand. The bottom surface of the tool is called the sole. The blade can be removed for sharpening, and adjusted to vary the depth of the cut. An early design consisted of a metal blade with a pair of tangs to which the wooden handles were attached, as with a draw knife. Unlike a draw knife, but like a plane, spokeshaves typically have a sole plate that fixes the angle of the blade relative to the surface being worked. There are a wide variety of different types of spokeshave, suited to different trades and applications. Company History: The firm of Alexander Mathieson & Sons was one of the leading makers of hand tools in Scotland. Its success went hand in hand with the growth of the shipbuilding industries on the Firth of Clyde in the nineteenth century and the emergence of Glasgow regarded as the "second city of the Empire". It also reflected the firm's skill in responding to an unprecedented demand for quality tools by shipyards, cooperage's and other industries, both locally and far and wide. The year 1792 was deemed by the firm to be that of its foundation it was in all likelihood the year in which John Manners had set up his plane-making workshop on Saracen Lane off the Gallowgate in the heart of Glasgow, not far from the Saracen's Head Inn, where Dr Johnson and James Boswell had stayed on their tour of Scotland in 1773. Alexander Mathieson (1797–1851) is recorded in 1822 as a plane-maker at 25 Gallowgate, but in the following year at 14 Saracen's Lane, presumably having taken over the premises of John Manners. The 1841 national census described Alexander Mathieson as a master plane-maker at 38 Saracen Lane with his son Thomas Adam working as a journeyman plane-maker. In 1849 the firm of James & William Stewart at 65 Nicolson Street, Edinburgh was taken over and Thomas was put in charge of the business, trading under the name Thomas A. Mathieson & Co. as plane and edge-tool makers. Thomas's company acquired the Edinburgh edge-tool makers Charles & Hugh McPherson and took over their premises in Gilmore Street. The Edinburgh directory of 1856/7 the business is recorded as being Alexander Mathieson & Son, plane and edge-tool makers at 48 Nicolson Street and Paul's Work, Gilmore Street. The 1851 census records indicate that Alexander was working as a tool and plane-maker employing eight men. Later that year Alexander died and his son Thomas took over the business. Under the heading of an edge-tool maker in the 1852/3 (Post-Office Glasgow Annual Directory) the firm is now listed as Alexander Mathieson & Son. By the early 1850s, the business had moved to 24 Saracen Lane. The directory for 1857/8 records that the firm had moved again only a few years later to East Campbell Street, also off the Gallowgate, and that through further diversification was also manufacturing coopers' and tin men's tools. The ten-yearly censuses log the firm's growth and in 1861 Thomas was a tool manufacturer employing 95 men and 30 boys; in 1871 he had 200 men working for him and in 1881 300 men. By 1899 the firm had been incorporated as Alexander Mathieson & Sons Ltd, even though only Alexander's son Thomas appears ever to have joined the firm.A vintage tool made by a well-known firm made for other firms and individuals that worked in wood. The tool was used to shape various items mainly in use by wheel wrights. A significant vintage item from the mid to late 19th century that today is quite sought after by collectors. It gives us a snapshot of how trade people predominately worked materials such as wood by hand and with tools that were themselves hand made shows the craftsman's art of the time. Spokeshave with blade 4 inches wide.Mathieson and Son Glasgow. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, spokeshave, mathieson and son, carpentry tools, wheel wright tools

Take a stroll through the average beverage aisle in your supermarket, and you might get the impression that tea has always come in small boxes with disposable tea bags. But before those easy to come by boxes, there was the rich and intriguing history of the tea strainer, a beautiful little tool that has helped our ancestors enjoy loose leaf tea for hundreds of years. Enjoying loose-leaf tea, and becoming familiar with this tool, can help spark an appreciation for your tea strainer and infuser collection, or simply inspire you to grow one. Documentation of tea tools such as the tea strainer appear in ancient history, the earliest models were likely made of bamboo, and later evolved into stainless steel, sterling silver, china, porcelain, silicon, and linen. During the Tang Dynasty in China, a small book called “Classic of Tea” was written describing tea utensils, and they were made to help Buddhist monks keep living things (such as small bugs) out of the drinking water. However, using a tea tool to keep run away tea leaves out of a cup did not become a cited use of the strainer until the 17th century when Dutch merchants made tea more readily available to those outside of the Chinese dynasty. British royals then increased the popularity of tea as their preferred beverage, and it was not long before a newfound fanaticism for tea in Great Britain spread to the American colonies, as did a growing demand for products that could separate loose tea leaves from liquid with ease and flair. Why did people use a strainer to separate out tea leaves in Great Britain and not in China? While the method of serving tea from a teapot with the tea loose in the pot was a practice used in both countries, the reason China may not have required a tool to remove leaves from their cup likely had to do with the types of tea leaves they were producing. The British owned tea plantations, in countries such as India, produced finer black tea leaves that did not require as much space to expand inside of a tea pot, where as the leaves prepared on the Chinese plantations would expand far more in the pot, and were therefore less likely to land or be bothersome inside a tea cup. This common approach to serving tea with smaller tea leaves required a solution to avoid ending up with a cup, and mouth, full of tea leaves. The obvious solution was a strainer basket. In the Victorian era, tea strainer baskets, similar to those still used in tea parlors today, were made to sit on top of the cup to capture the leaves when pouring the tea from a tea pot into the individual cups. Another solution was a tea-removing device called a mote spoon. Mote spoons act as search and rescue spoons to remove tea leaves from individual teacups. The tea would be brewed loose in the teapot, so any tea that ended up in the cup could be removed with a long handled spoon with holes in the spoon to remove rogue tea leaves and keep the steeped water in the cup. The handle also helped keep the teapot spout free of leaves and could help unclog any leaves trapped when pouring. Stainless steel tea strainers and tea infusers gained popularity in the late 19th century. Big name tea strainer producers, such as Tiffany and Gorham, could use fine silver to create quality, heavy, and sturdy strainers, for those who could afford it. There were many varieties of strainers at that time, but it was more likely that smaller designers who could not afford to mass-produce these quality strainers out of silver made them into unique shapes to attract consumers with lighter wallets. And borne was the tea strainer we are accustomed to today. Things took an unexpected turn for the tea strainer in the early 1900s when Thomas Sullivan, a tea merchant, shipped out tea samples in small silk bags. Customers did not realize that they were supposed to remove the tea from the bags, and instead boiled the tea, bag and all! The convenience of tossing out the leaves is obvious, and the popularity of tea bags is still seen today. Most premium bags of tea we are accustomed to today are frequently packaged loose for consumption, and when they are available in bags, the leaves are often crowded and do not have enough space to expand. While pyramid tea bags have become a more recent solution to this problem, due to the additional space at the top of the bag, enjoying a variety of quality tea is easier with a tea strainer in your arsenal. Besides, with the wide variety of strainers for your cup or pot in versatile materials such as mesh, silver, or a novelty silicone cartoon shape, loose tea can still reign supreme. Tea strainers sometimes do require more cleanup and measuring, but the experience and quality is always worth the effort. Besides, strainers also allow for mixing favorite tea blends together for an extra dose of delicious creativity! https://www.teamuse.com/article_170413.html The strainer provided the convenience of separating the tea leaves for disposal later.Metal strainer, bowl shaped, with mesh and twisted wire handle.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, strainer

The toy soldier is a relic from the shipwreck of the LOCH ARD in 1878. It has a companion piece in the Flagstaff Hill collection. The toy soldier is unpainted, but the style of uniform, and the weapons carried (a musket and a basket-handled cutlass), indicate it is a representation of the Napoleonic Wars period from the beginning of the nineteenth century. Mass-produced toy soldiers made of cast metal (lead or tin) became popular during the 1800s. Heyde of Germany manufactured silhouette-shaped flat toy soldiers early in the century. Mignot of France released three-dimensional solid figures and later around 1893 W. Britain, a toy company became known for its die-cast lead toy soldiers. These innovations were designed to make sets of toy soldiers more affordable for middle and lower-class children, extending the market beyond the intricately made and hand-crafted replicas that were the preserve of the rich in the eighteenth century. Wooden military figures, specially carved and unpainted ones, were therefore not particularly common at the time when the Loch Ard foundered on Victoria’s southwest coast. Mignot was the first to sell unpainted soldiers, leaving their customers to fill in the colours according to their own patriotic preferences. It is, therefore, possible the two figures in the Flagstaff Hill collection were part of a new set intended for sale, rather than part of a passenger’s existing collection. Loch Ard History: The Loch Ard got its name from ”Loch Ard” a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curle & Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold their position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became 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 Lochard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Lochard 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 Lochard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Lochard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck, it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.The toy soldier represents a 19th-century child's interest in military history. The item is one of two toy soldiers recovered from the Loch Ard in Flagstaff Hill's collection. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history, allowing us to interpret Victoria's social and historical themes. Through is associated with the worst and best-known shipwreck in Victoria's history.An unpainted, cream-coloured toy soldier, recovered from the Loch Ard. The figure wears a Napoleonic Wars-era uniform, a plumed helmet, a short jacket with tails, bib-front trousers with button closure, straps crossed at the front and back, and epaulettes. The figure is in marching posture with one foot extended forward, and is bearing a musket at the slope-arms position, with a sabre or cutlass slung behind. It is unable to stand on its own. There are reddish-brown and orange-brown stains on the head and body. The body has seams along both sides that are uneven at the lower leg. There is a hole in the back and the inside is hollow. The material has a rough texture.flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch ard, toy soldier, napoleonic uniforms, military toy, moulded soldier

The objects are a sample of medium caliber lead shot raised by Flagstaff Hill divers from the Loch Ard shipwreck site in 1976. Included in the vessel’s cargo manifest were 22 tonnes of lead shot, packed into her holds in cloth bags and wooden casks. These 49 pieces of 7 mm diameter lead shot are identical in size and smoothness. Each one also bears the same slightly raised square of residual metal left behind by the process of pouring molten lead into individual but identical moulds through a small (square) opening. These pieces of shot can be compared with contrast pieces in the Maritime Village collection, which are examples of shot tower pellet production; an industrial technique more suited to the creation of uniformly spherical balls that do not need subsequent trimming. In conventional shot tower production, lead is heated in a cauldron at the top of a 150-160 feet tower, and poured through a copper lattice that divides the metal into falling droplets. As these droplets fall, they spin into small spheres and gradually cool, before finishing in a pool of water at the bottom of the tower. However the maximum size of lead shot, and the economic efficiency of shot tower production, is limited by the practical height of the drop. Larger diameter lead shot must fall further in order to cool evenly and sufficiently to avoid shape distortion on hitting the water at the base. This sample of larger 7 mm lead shot, although mass produced, appears to have been manufactured under the traditional and more labour intensive mould system. They are therefore distinct from the other samples of smaller gauged and shot tower produced lead shot that were being imported on the Loch Ard . In terms of metallurgical technology these 7 mm shot are more closely related to an artifact in our Collection (No. 5241) — a forged set of pincers or pliers with two facing cups at the end. When the pincers are closed, the cups join to form a single mould. Molten lead is poured through a small (circular) opening left at the top of the mould. When cooled the pincers are opened, breaking the mould and releasing the lead shot. The excess metal left over from the pouring operation at the top of the ball is then trimmed off using the scissor like cutting edges on the inner side of the pliers handles. In this manner, individual shooters were able to make their own ammunition for their shotguns. History of the Loch Ard: The Loch Ard got it’s name from ”Loch Ard” a loch which lies to the west of Aberfoyle, and to the east of Loch Lomond. It means "high lake" in Scottish Gaelic.The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition in. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register Ref S 417. Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we are able to interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. A quantity of forty-nine (49) loose round lead shot of 7 mm diameter retrieved from the wreck of the Loch Ard. All are smooth round spheres with the same small raised square of excess lead on one face.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, shipwreck artefact, shot, lead shot, shot towers, shot mould, colonial imports, practical metallurgy

This Zinc Cap Porcelain Liner was recovered from the (1908) shipwreck site of the FALLS OF HALLADALE. The purpose of cap liners was to assist with the safe preserving and storage of perishable foodstuffs in an age when refrigeration was generally unavailable. These round, coarse-glass inserts formed part of the screw lids used with the Ball Mason style of canning fruit jars. The liner was placed inside the zinc cap to stop the contents of the jar reacting with the zinc. It prevented the metallic tainting of food as well as the corrosion of the metallic lid. On March 30, 1869, Lewis R Boyd was issued with patent # 88439 for an “Improved Mode of Preventing Corrosion in Metallic Caps”. From the 1870s to the 1950s, large quantities of these liners were produced by a number of glass manufacturing companies. They are consequently difficult to date or identify. “It is assumed that most of the earlier versions of these liners have the name ‘BOYD’S’ or ‘BOYD’ embossed on them. Later versions may or may not have the name included in the lettering”. (http://www.glassbottlemarks.com). Only a few were made of porcelain, the great majority being made first of transparent and later of translucent or opaque glass. The different emblems of triangles, circles, and crosses embossed on the front face of the liners are assumed to signify mould or model types rather than the company that produced them. This particular artefact is one of 14 cap liners that were retrieved from the shipwreck site and are now part of the Flagstaff Hill Maritime Village collection. The Maltese Cross and “BOYD’S GENUINE PORCELAIN LINED” lettering are unique to this piece. However, it is evident from the markings and materials of the other cap liners, that they originally formed sets or series. Six are larger (8 mm depth x 85mm diameter), of greenish hue with ground glass texture, and support the raised emblem of a compass needle. Two are medium-sized (75mm diameter) with two raised dots in a central circle and the lettering “Patd. APR 25.82”. This particular cap liner is likely to have also been one of a mass-produced line being imported from America. The iron-hulled sailing ship FALLS OF HALLADALE was a bulk carrier of general cargo en route from New York to Melbourne and Sydney. In her hold, along with 56,763 tiles of unusual beautiful green American slates (roofing tiles), 5,673 coils of barbed wire, 600 stoves, 500 sewing machines, 6500 gallons of oil, 14400 gallons of benzene, and many other manufactured items, were 117 cases of crockery and glassware. The FALLS OF HALLADALE came aground on a reef off the Peterborough headland at 3 am on the morning of the 15th of November, 1908. The captain and 29 crew members all survived, but her valuable cargo was largely lost, despite two salvage attempts in1908-09 and 1910. The iron-hulled, four-masted barque, the Falls of Halladale, was a bulk carrier of general cargo. She left New York in August 1908 on her way to Melbourne and Sydney. In her hold, along with 56,763 tiles of unusual beautiful green American slates (roofing tiles), 5,673 coils of barbed wire, 600 stoves, 500 sewing machines, 6500 gallons of oil, 14400 gallons of benzene, and many other manufactured items, were 117 cases of crockery and glassware. Three months later and close to her destination, a navigational error caused the Falls of Halladale to be wrecked on a reef off the Peterborough headland at 3 am on the morning of the 15th of November, 1908. The captain and 29 crew members all survived, but her valuable cargo was largely lost, despite two salvage attempts in 1908-09 and 1910. ABOUT THE ‘FALLS OF HALLADALE’ (1886 - 1908) Built: in1886 by Russell & Co., Greenock shipyards, River Clyde, Scotland, UK. The company was founded in 1870 (or 1873) as a partnership between Joseph Russell (1834-1917), Anderson Rodger and William Todd Lithgow. During the period 1882-92 Russell & Co., they standardised designs, which sped up their building process so much that they were able to build 271 ships over that time. In 1886 they introduced a 3000 ton class of sailing vessel with auxiliary engines and brace halyard winches. In 1890 they broke the world output record. Owner: Falls Line, Wright, Breakenridge & Co, 111 Union Street, Glasgow, Scotland. Configuration: Four masted sailing ship; iron-hulled barque; iron masts, wire rigging, fore & aft lifting bridges. Size: Length 83.87m x Breadth 12.6m x Depth 7.23m, Gross tonnage 2085 ton Wrecked: the night of 14th November 1908, Curdies Inlet, Peterborough south west Victoria Crew: 29 The Falls of Halladale was a four-masted sailing ship built-in 1886 in Glasgow, Scotland, for the long-distance cargo trade and was mostly used for Pacific grain trade. She was owned by Wright, Breakenridge & Co of Glasgow and was one of several Falls Line ships, all of which were named after waterfalls in Scotland. The lines flag was of red, blue and white vertical stripes. The Falls of Halladale had a sturdy construction built to carry maximum cargo and able to maintain full sail in heavy gales, one of the last of the ‘windjammers’ that sailed the Trade Route. She and her sister ship, the Falls of Garry, were the first ships in the world to include fore and aft lifting bridges. Previous to this, heavily loaded vessels could have heavy seas break along the full length of the deck, causing serious injury or even death to those on deck. The new, raised catwalk-type decking allowed the crew to move above the deck stormy conditions. This idea is still used today on the most modern tankers and cargo vessels and has proved to be an important step forward in the safety of men at sea. On 4th August 1908, with new sails, 29 crew, and 2800 tons of cargo, the Falls of Halladale left New York, bound for Melbourne and Sydney via the Cape of Good Hope. The cargo on board was valued at £35,000 and included 56,763 tiles of American slate roofing tiles (roof slates), 5,673 coils of barbed wire, 600 stoves, 500 sewing machines, 6,500 gallons of oil, 14,400 gallons of benzene, plumbing iron, 117 cases of crockery and glassware and many other manufactured items. The Falls of Halladale had been at sail for 102 days when, at 3 am on the night of 14th November 1908, under full sail in calm seas with a six knots breeze behind and misleading fog along the coast, the great vessel rose upon an ocean swell and settled on top of a submerged reef near Peterborough on south-west Victoria’s coast. The ship was jammed on the rocks and began filling with water. The crew launched the two lifeboats and all 29 crew landed safely on the beach over 4 miles away at the Bay of Islands. The postmistress at Peterborough, who kept a watch for vessels in distress, saw the stranding and sent out an alert to the local people. A rescue party went to the aid of the sailors and the Port Campbell rocket crew was dispatched, but the crew had all managed to reach shore safely by the time help arrived. The ship stayed in full sail on the rocky shelf for nearly two months, attracting hundreds of sightseers who watched her slowly disintegrate until the pounding seas and dynamiting by salvagers finally broke her back, and her remains disappeared back into deeper water. The valuable cargo was largely lost, despite two salvage attempts in 1908-09 and 1910. Further salvage operations were made from 1974-1986, during which time 22,000 slate tiles were recovered with the help of 14 oil drums to float them, plus personal artefacts, ship fittings, reams of paper and other items. The Court of Marine Inquiry in Melbourne ruled that the foundering of the ship was entirely due to Captain David Wood Thomson’s navigational error, not too technical failure of the Clyde-built ship. The shipwreck is a popular site for divers, about 300m offshore and in 3 – 15m of water. Some of the original cargo can be seen at the site, including pieces of roof slate and coils of barbed wire. The Falls of Halladale shipwreck is listed on the Victorian Heritage Register (No. S255). She was one of the last ships to sail the Trade Routes. She is one of the first vessels to have fore and aft lifting bridges. She is an example of the remains of an International Cargo Ship and also represents aspects of Victoria’s shipping industry. The wreck is protected as a Historic Shipwreck under the Commonwealth Historic Shipwrecks Act (1976). A circular translucent glass disc in good condition with raised upper case lettering around 8mm rim – “BOYD’S GENUINE PORCELAIN LINED” - and a raised central emblem of a Maltese Cross. On the reverse face in the centre of the disc, there is a raised numeral “3”. falls of halladale, wright, breakenridge & co of glasgow, unusual beautiful green american slates (roofing tiles), warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, zinc cap porcelain liner, boyd’s genuine porcelain lined, glass lid, opaque disc, food preserving, fruit bottling, cap liner, shipwrecked coast, flagstaff hill maritime museum, shipwreck artefact, 1908 shipwreck

Whether it’s an anaesthetic, blood test, insulin, vitamin shot or vaccination, at a base human level something feels instinctively wrong about having a long thin piece of metal stuck deep into your flesh. And yet, in allowing physicians to administer medicine directly into the bloodstream, the hypodermic needle has been one of the most important inventions of medical science. In the beginning… Typically, it was the Romans. The word ‘syringe’ is derived from Greek mythology. Chased to the edge of a river by the god Pan, a rather chaste nymph by the name of Syrinx magically disguised herself as water reeds. Determined, Pan chopped the hollow reeds off and blew into them to create a musical whistling sound, thereby fashioning the first of his fabled pipes. Taking that concept of ‘hollow tubes’, and having observed how snakes could transmit venom, the practice of administering ointments and unctions via simple piston syringes is originally described in the writings of the first-century Roman scholar Aulus Cornelius Celsus and the equally famous Greek surgeon Galen. It’s unclear if the Egyptian surgeon Ammar bin Ali al-Mawsili was a fan of either of their scribblings, but 800 years later he employed a hollow glass tube and simple suction power to remove cataracts from his patients’ eyes – a technique copied up until the 13th century, but only to extract blood, fluid or poison, not to inject anything. Syringes get modern Then, in 1650, while experimenting with hydrodynamics, the legendary French polymath Blaise Pascal invented the first modern syringe. His device exemplified the law of physics that became known as Pascal’s Law, which proposes “when there is an increase in pressure at any point in a confined fluid, there is an equal increase at every other point in the container.” But it wasn’t until six years later that a fellow Renaissance man, the English architect Sir Christopher Wren took Pascal’s concept and made the first intravenous experiment. Combining hollow goose quills, pig bladders, a kennel of stray dogs and enough opium to fell a herd of elephants, Wren started injecting the hapless mutts with the ‘milk of the poppy’. By the mid-1660s, thinking this seemed like a great idea, two German doctors, Johann Daniel Major and Johann Sigismund Elsholtz, decided to try their hand at squirting various stuff into human subjects. Things didn’t end well, and people died. Consequently, injections fell out of medical favour for 200 years. Let's try again… Enter the Irish doctor Francis Rynd in 1844. Constructing the first-ever hollow steel needle, he used it to inject medicine subcutaneously and then bragged about it in an issue of the Dublin Medical Press. Then, in 1853, depending on who you believe, it was either a Frenchman or a Scot who invented the first real hypodermic needle. The French physician Charles Pravaz adapted Rynd’s needle to administer a coagulant in order to stem bleeding in a sheep by using a system of measuring screws. However, it was the Scottish surgeon Alexander Wood who first combined a hollow steel needle with a proper syringe to inject morphine into a human. Thus, Wood is usually credited with the invention. Sharp advancements Over the following century, the technology was refined and intravenous injections became commonplace – whether in the administering of pain relief, penicillin, insulin, immunisation and blood transfusions, needles became a staple of medicine. By 1946, the Chance Brothers’ Birmingham glassworks factory began mass-producing the first all-glass syringe with interchangeable parts. Then, a decade later, after sterilisation issues in re-used glass syringes had plagued the industry for years, a Kiwi inventor called Colin Murdoch applied for a patent of a disposable plastic syringe. Several patents followed, and the disposable syringe is now widespread. https://www.medibank.com.au/livebetter/be-magazine/wellbeing/the-history-of-the-hypodermic-needle/ This syringe set was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Syringe set (5 pieces) in container, from W.R. Angus Collection. Rectangular glass container with separate stainless steel lid, syringe cylinder, end piece and angle-ended tweezers. Container is lined with gauze and fabric. Scale on syringe is in "cc". Printed on Syringe "B-D LUER-LOK MULTIFIT, MADE IN U.S.A." Stamped into tweezers "STAINLESS STEEL" and "WEISS LONDON"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, medical treatment, syringe, b d syringe, luer-lok multifit, weiss london, surgical tweezers, hypodermic syringe, injections

Whether it’s an anaesthetic, blood test, insulin, vitamin shot or vaccination, at a base human level something feels instinctively wrong about having a long thin piece of metal stuck deep into your flesh. And yet, in allowing physicians to administer medicine directly into the bloodstream, the hypodermic needle has been one of the most important inventions of medical science. In the beginning… Typically, it was the Romans. The word ‘syringe’ is derived from Greek mythology. Chased to the edge of a river by the god Pan, a rather chaste nymph by the name of Syrinx magically disguised herself as water reeds. Determined, Pan chopped the hollow reeds off and blew into them to create a musical whistling sound, thereby fashioning the first of his fabled pipes. Taking that concept of ‘hollow tubes’, and having observed how snakes could transmit venom, the practice of administering ointments and unctions via simple piston syringes is originally described in the writings of the first-century Roman scholar Aulus Cornelius Celsus and the equally famous Greek surgeon Galen. It’s unclear if the Egyptian surgeon Ammar bin Ali al-Mawsili was a fan of either of their scribblings, but 800 years later he employed a hollow glass tube and simple suction power to remove cataracts from his patients’ eyes – a technique copied up until the 13th century, but only to extract blood, fluid or poison, not to inject anything. Syringes get modern Then, in 1650, while experimenting with hydrodynamics, the legendary French polymath Blaise Pascal invented the first modern syringe. His device exemplified the law of physics that became known as Pascal’s Law, which proposes “when there is an increase in pressure at any point in a confined fluid, there is an equal increase at every other point in the container.” But it wasn’t until six years later that a fellow Renaissance man, the English architect Sir Christopher Wren took Pascal’s concept and made the first intravenous experiment. Combining hollow goose quills, pig bladders, a kennel of stray dogs and enough opium to fell a herd of elephants, Wren started injecting the hapless mutts with the ‘milk of the poppy’. By the mid-1660s, thinking this seemed like a great idea, two German doctors, Johann Daniel Major and Johann Sigismund Elsholtz, decided to try their hand at squirting various stuff into human subjects. Things didn’t end well, and people died. Consequently, injections fell out of medical favour for 200 years. Let's try again… Enter the Irish doctor Francis Rynd in 1844. Constructing the first-ever hollow steel needle, he used it to inject medicine subcutaneously and then bragged about it in an issue of the Dublin Medical Press. Then, in 1853, depending on who you believe, it was either a Frenchman or a Scot who invented the first real hypodermic needle. The French physician Charles Pravaz adapted Rynd’s needle to administer a coagulant in order to stem bleeding in a sheep by using a system of measuring screws. However, it was the Scottish surgeon Alexander Wood who first combined a hollow steel needle with a proper syringe to inject morphine into a human. Thus, Wood is usually credited with the invention. Sharp advancements Over the following century, the technology was refined and intravenous injections became commonplace – whether in the administering of pain relief, penicillin, insulin, immunisation and blood transfusions, needles became a staple of medicine. By 1946, the Chance Brothers’ Birmingham glassworks factory began mass-producing the first all-glass syringe with interchangeable parts. Then, a decade later, after sterilisation issues in re-used glass syringes had plagued the industry for years, a Kiwi inventor called Colin Murdoch applied for a patent of a disposable plastic syringe. Several patents followed, and the disposable syringe is now widespread. https://www.medibank.com.au/livebetter/be-magazine/wellbeing/the-history-of-the-hypodermic-needle/ This syringe set was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Syringe set (8 pieces),part of the W.R. Angus Collection. Pocket syringe kit in oval stainless steel container with separate lid. Container holds syringe cylinder, plunger, 2 needles, blade and cap. Printed on syringe cylinder "FIVEPOINT BRITISH" and symbol of a red star. One needle stamped "22"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, medical treatment, medical history, medical education, medical text book, fivepoint syringe, general surgical co., injections

During the 1930s Depression with money and goods in short supply, many people had to learn to adapt and improvise with whatever they could find. This tin mug is an example of the resourcefulness and creativity that emerges in times of adversity. This item is a good example of the self-reliance of early families before the availability of mass produced domestic items.A tin mug with a tin handle. It is made from a recycled tin container and the handle has been soldered on to the side.tin-mug handmade container tin