This photograph depicts the entrance to the Burke Museum in Beechworth, most likely in 1980. The building was originally established as the Beechworth Athenaeum in 1857 to provide a lecture hall and reading room at the peak of the gold rush. In 1859, it became the Beechworth Public Library, which is why the writing embossed above the main entry says 'Library' rather than 'Museum'. The building was turned into a museum and renamed the Robert O'Hara Burke Memorial Museum in 1863 in honour of Robert O'Hara Burke, former Police Superindendent of Beechworth who died in 1861 on the Burke and Wills expedition. The Burke Museum has been in almost continual operation since that time. In the 1970s, the building underwent renovations to create several verandas, though the main façade visible in this photograph remained as it was when originally built. The Burke Museum currently contains over 30,000 individual objects, including the Gold Rush era items and the Ned Kelly collection advertised on the a-frame in the photograph. The photograph itself is also part of the Burke Museum collection.The Burke Museum itself is very significant to Victorian history. It is on both the Victorian Heritage Register and is part of the National Trust due to its relevance to the history of the Gold Rush period, its architectural features, and its significant collection. Photographs of it throughout its history are an important part of telling the museum's story. This photograph in particular highlights what the museum staff believed would be appealing to a 1980s public, evident by the A-frame advertising board.A black and white rectangular photograph printed on photographic paper.Top right text: 5147. Bottom left text: Beryl Seatt (or possibly Scatt) & friend 1980beechworth, burke museum, beechworth museum, beechworth historic precinct, architecture, museum, library, 1980s, 1980s australia, museum staff

This photograph depicts the façade of the Burke Museum in Beechworth. Originally built in 1857 by the Young Men's Association as the Beechworth Athenaeum, the building provided a public lecture hall and reading room for men at the peak of the gold rush era of Beechworth. In 1859, it became the Beechworth Public Library, which is why the writing embossed above the main entry says 'Library' rather than 'Museum'. The building was turned into a museum and renamed the Robert O'Hara Burke Memorial Museum in 1863 following the death of Robert O'Hara Burke on the Burke and Wills expedition in 1861, as Burke had been the Police Superintendent of Beechworth. The museum has had several additions built onto the property, most notably significant extensions in the 1970s, but the main façade depicted in the photograph has remained largely intact. The architecture is an example of provincial conservative classicism. The Burke Museum contains over 30,000 individual objects, including Gold Rush era items, taxidermy specimens, a Ned Kelly collection, and this very photograph.The Burke Museum itself is very significant to Victorian history. It is on both the Victorian Heritage Register and is part of the National Trust due to its relevance to the history of the Gold Rush period, its architectural features, and its significant collection. Photographs of it throughout its history are an important part of telling the museum's story. Although this is a modern photograph, it captures the façade of the building with similarity to the mid-nineteenth-century provincial conservative classicism style.A colour rectangular photograph printed on photographic paper.3440.1burke museum, beechworth, beechworth museum, australian museum, museum, architecture, classical architecture, conservative classicism, museum facade, library

The Great Crested Grebe is a medium to large sized bird located in Australia, New Zealand, Europe, Asia and in parts of Africa. They reside in large bodies of fresh water and are renowned for their elaborate mating dances. When breeding, the Great Crested Grebe has tawny cheek "fans" and black crests; however, in the non-breading seasons the plumage of this bird turns white. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Great Crested Grebe is a medium to large sized bird. It typically has cheek "fans" on the sides of the face and elaborate crest feathers which are shed after breeding, as is the case for this specimen. This bird is in a tall standing position with its neck stretched upwards and facing left. The small dark eyes have been made from glass and a large pointed bill. It has a metal tag tied to its left leg engraved with the numbers "4401". The skin surrounding the toes are flat which assists the bird when swimming.On tag 4401taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, great crested grebe, bird

This specimen is a Black-Headed Gull in the adult winter plumage. This plumage is mostly white and grey with a small dark mark on the sides of the head. During the summer months, the plumage on the head of the bird turns a black colour which is called a hood. This species can be found over much of Europe, except Spain, Italy and Greece. It also resides in northeastern Canada, Northeast America and in some of the Caribbean Islands. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.A pale grey and white coloured Gull standing on a wooden platform. The bill and legs are a pale yellow colour and the toes are webbed. The small eyes are made from glass and black in colour. The specimen has a darker spot of plumage behind the eyes and darker feathers in its tail. Paper tag 1: "28a Black-headed Gull- Catalogue, Page, 43." Paper tag 2: Larus Ridibundustaxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, gull, black-headed gull, common gull

This is a camp of survey workers surveying the railway line . They were camped at Mossiface in 1907. It has been sent as a postcard - "Dear Miss Ross, Just a card, hoping you are well etc, trust you have not forgotten our trip. I forgot to get the name of the street in Hobart of Mr Benjamin or Temple?????? Sufficient. Yours sincerely H.R. Gordon". It has been dated September 30th 1907. There had been men surveying in East Gippsland from the late 19th century. Railway surveyors advocated two lines beyond Bairnsdale – one via Bruthen and the Tambo Valley to Omeo, the other via Swan Reach and Colquhoun to Orbost, then on to Bendoc and the border. With all the argument and feuding between the warring factions, by the end of 1891, the Parliamentary Railways Standing Committee gave up in despair of trying to reach any agreement and abandoned the idea altogether. Finally, with all problems solved, the first sod was turned at Mossiface on 9.1.1912, the government sticking to the original route in the 1890 survey .This is a pictorial record of a surveyors' camp in the early 20th century. The Bairnsdale to Orbost Railway was a significant contributor to the economy of Orbost until it closed.A black / white photograph / postcard of a group of men at a campsite. In the background is a row of tents. on the right side is a clothes line with several sheets hung over it. Two men are studying a map or chart; one man is sitting with a cloth around his shoulders while another is standing behind him cutting his hair; one man is washing cloth in a tin tub; another appears to be stirring a pot; others are sitting reading or just observing.on front - handwritten is " R.L.Y.S. SURVEY CAMP MOSSIFACE 27.7.07" on back is a letter - "Dear Miss Ross.............yours sincerely ????? Gordon"surveying-railway east-gippsland-railway mossiface-survey-camp

These four photographs were taken at Bones Day, an annual sports competition between the Army Survey Regiment and the RAAF School of Radio at Bendigo c1982. The two units took turns each year to host the event. The day competition usually comprised basketball, cross country, golf, sailing, squash, softball, tennis, touch football, rifle shooting, tug-of-war and volleyball. The two sports featuring in these photos are touch football and tug-of-war. The “big bone” trophy comprising a large bone from a beast housed inside a wooden framed glass case, was awarded to the winner of the day competition. The evening competition often included darts, carpet bowls, hookey, quoits and billiards/snooker. The “little bone” (a mounted chicken bone) was the consolation trophy awarded to the winner of the evening competition. The 3-hour bus trip for the visiting unit on their return was typically very raucous. The history of the Bones Day competition is best described in the booklet titled - Bones of Contention Souvenir Program. 1965. Refer to Item 6267.These four photographs were taken at Bones Day, an annual sports competition between the Army Survey Regiment and the RAAF School of Radio at Bendigo c1982. The photographs are on 35mm negative film. They are part of the Army Survey Regiment’s Collection. The photographic negatives were scanned at 96 dpi. There are additional photos in this set that have not been scanned due to poor quality or low historical value. .1) - Photo, black & white, 1982, Touch Football Team Back Row L to R: Brian Fauth, Bruce Bowers, Bob Mason, Paul Baker, Danny Galbraith, John Hook, Scott Payne. Front Row L to R: Roy Hicks, Peter Imeson, Alan Glanville, John Gilbert, Wally Chilcott. .2) - Photo, black & white, 1982, Tug-of-War Team Back Row L to R: Cliff Webb, Peter Treble, John Lane, Andy Wilson, Rick Warren, Rusty Williams, Brian Paul. Front Row L to R: Brian Fauth, Rick Downie, unidentified, Ken Slater, Rhys De Laine, John Smith, unidentified. .3) - Photo, black & white, 1982, Tug-of-War Team L to R: Peter Treble, Brian Paul, Rusty Williams, Rhys De Laine, unidentified (2), John Smith. Army personnel in background standing L to R: Rick van der Bom, Paul Hopes, Ian Nelson, Mick Dempster, John ‘Flash’ Anderson, Geoff Havelberg, John ‘Stormy’ Tempest, Bruce Gordon, Dan Cirsky, Neil Jones, Gerry Gates, Peter Main, Bob Thrower, Barry Miller, Gill Park. Army personnel in background seated L to R: Roger Pearson, Mick Gillham, Penny Knott, Leanne Shirley. .4) - Photo, black & white, 1982, Tug-of-War Team L to R: Rick Warren, Cliff Webb, Andy Wilson, Peter Treble, Brian Paul, Rusty Williams, Rhys De Laine, unidentified. Army personnel in background standing L to R: Rick van der Bom, Ian Nelson, Mick Dempster. .1P to .4P – No personnel are identified.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, raaf school of radio, bones day

These eight photographs were taken at Bones Day, an annual sports competition between the Army Survey Regiment and the RAAF School of Radio at Bendigo in November 1978. The two units took turns each year to host the event. The day competition usually comprised basketball, cross country, golf, sailing, squash, softball, tennis, touch football, rifle shooting, tug-of-war and volleyball. The “big bone” trophy comprising a large bone from a beast housed inside a wooden framed glass case, was awarded to the winner of the day competition. The evening competition often included darts, carpet bowls, hookey, quoits and billiards/snooker. The “little bone” (a mounted chicken bone) was the consolation trophy awarded to the winner of the evening competition. The 3-hour bus trip for the visiting unit on their return was typically very raucous. The history of the Bones Day competition is best described in the booklet titled - Bones of Contention Souvenir Program. 1965. Refer to Item 6267.These eight photographs were taken at Bones Day, an annual sports competition between the Army Survey Regiment and the RAAF School of Radio at Bendigo in November 1978. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, 1978, Softball Team Back Row L to R: Janet (Chopping) Justin, John Ashby, Scheryal Delforce, Tracey (Beckwith) Phillips. Front Row L to R: Zoe (Lisiewich) Ames, Di Chalmers, unidentified, Le-Anne (Smallshaw) Shirley, Lorraine (Daly) Talbot-Smith, Lynn Johnson. .2) - Photo, black & white, 1978, Tennis Team Back Row L to R: Mick Flynn, Chris Carter, Ken Delmenico. Front Row L to R: unidentified (x3), Adrian Rynberk. .3) - Photo, black & white, 1978, Golf Team Back Row L to R: George Austen, unidentified, Roger Rees. Front Row L to R: Peter Imeson, Greg Gilbert, unidentified officer, Paul Richards. .4) - Photo, black & white, 1978, Basketball action: Gill Park – No. 8 .5) - Photo, black & white, 1978, evening events: L to R: Garry Hudson, unidentified RAAF airwoman. .6) - Photo, black & white, 1978, evening events: L to R: Gary Warnest, Wayne Rothwell. .7) - Photo, black & white, 1978, evening events: L to R: Mick ‘Buddha’ Ellis, unidentified RAAF airwoman. .8) - Photo, black & white, 1978, evening events: L to R: Mick ‘Buddha’ Ellis, unidentified, Ian Belmont, Ken Slater. .1P to .8P – No personnel are annotated.royal australian survey corps, army svy regt, rasvy, army survey regiment, fortuna, asr, raaf school of radio, bones day

Vol. 2, No. 3, Jun-Jul 1997 CONTENTS WEAVING ON A ROLL Author Jon Weaving talks about the pitfalls of success 3 DON’T PASS THE GUINNESS Poet Patrick McCauley turns over a new leaf 6 AIMING FOR THE TOP Prue Acton chases a dream 9 CULTURAL TOURISM Selling a way of life 12 CONVERSATION WITH BOB SMITH An artist shares some thoughts on the why and how of painting 14 REPRIEVE FOR A GATE Some traditions refuse to die 16 STALKING THE STRANGER Short story by Chris Stonehouse 18 THEATRE IN AUTUMN Melbourne theatre is alive and well 21 TO A WOLF THE KILL Anne Delaney reviews Jon Weaving's first novel 23 EXHIBITION REVIEWS Richard Besley, Neophytes, The Eye of the Storm, Soft But True 24, 26, 27, & 30 CD REVIEWS 28 NEW SOURCE OF POWER Tony Trembath lights up a town hall 29 WHO’S DOING WHAT 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, food for all seasons, prue acton, jon weaving, michelle lonsdale, sandon mcleod, patrickk mccauley, malcolm riddle, cultural tourism, valley of the arts tourism association inc., robert peter smith, danny chable, farm gate, spirit of eltham, chris stonehouse, eltham bookshop, carolyn pickett, anne delaney, richard besley, mike parr, anita furey, aboriginal art, indigenous art, julie le bon, jackie stojanova, ranee lee, daniel chabble, tony trembath, john kauffman, westerfolds park envirofest, were street cafe, helen o'grady children's drama academy, nillumbik art collection

Although Heidelberg was one of the first parts of the Port Phillip District to be settled, and became important and prestigious in the early years of the colony, its history has been largely neglected. The beauty and fertility of the land and its proximity to Melbourne quickly resulted in the establishment in the 1830s and 40s of large estates by wealthy gentlemen. A romantic spot, Heidelberg became popular with picnickers and later attracted an artists' colony. The character of the area then gradually changed as a distinct village community emerged, and market gardens began to flourish. Unlike some of the suburbs closer to Melbourne, Heidelberg eventually wilted under economic pressures from which it did not fully recover until the turn of the century. This book allows us within the larger contect of the colony's fortunes and misfortunes, the struggle of Heidelberg the suburb to be born " - flyleaf. Contents: First land sales and subdivisions, gentlemen of Heidelberg and their estates and activities, infant rural community. golden fifties, decline and backwater, railway and land boom, a maturing community , the depression of the nineties. This book was the first to focus on the area of Heidelberg and its context within the Port Phillip District and remains significant as a key secondary source for describing the history of the area. It is relevant to the contextual history of its neighbour the former Shire of Eltham and Shire of Nillumbik.Hardback. Includes illustrations and index, 219 p.ISBN 0522840191port phillip district, ivanhoe, heidelberg, charles wingrove

The American Bible Union was formed in 1850 by Baptist members of the American Bible Society (ABS) who wanted the Society to produce translations that, in their view, more accurately reflected the original text. One place where they ran into conflict with other members of the ABS was over the translation of the Greek word baptize. Most English translations (including the Authorized or King James Version) simply transliterate the word rather than translate it as “immerse.” Between 1852 and 1861, they published a series of quarto edition that contained proposed revisions for most of the New Testament. A complete New Testament was published beginning in 1862 with a Second Revision published in 1865. A series of Old Testament volumes was also published between 1856 and 1884. In 1883 the American Bible Union ceased operation and turned over their activities to the American Baptists. The American Baptists continued their work and published an Improved Edition of the New Testament in about 1891 (this was published in two version – in one baptize is translated as immerse and in the other it is left as baptize.) They also published a complete Bible in 1912.A small Prayer Book Cover 'AMERICAN BIBLE UNION' Inside front page 'AMERICAN PRAYER BOOK'baptist church, early settlers, pioneers, brighton, moorabbin, bentleigh, market gardeners, bibles, prayerbooks, american bible union, american bible society

Traditionally, a bow saw is a woodworking tool used for straight or curved cuts. A bow saw is a type of frame saw. Its thin blade is held in tension by a frame. In English and American vocabulary it denotes a toothed blade suspended between two long narrow handles called "cheeks" that are supported and separated by a thin stretcher in the centre of the handles, making a wide H shape (the cheeks form the uprights of the H, the stretcher the crossbar of the H). The blade is kept in tension with a turnbuckle or a twisted cord that runs parallel to the blade between the two cheeks but on the opposite side of the stretcher. If a cord is used, the cord is twisted with a toggle attached to one loop of the cord, adding tension. The toggle hits the stretcher, which keeps the cord from untwisting. A finer version of the saw uses a narrow blade (1/4" or less) with handles that allow the user to hold the saw and turn the blade. In this context it is also known as a turning saw[2] which is larger than a coping saw.Early settlers in Moorabbin Shire had to be self reliant and made their own clothes, tools and equipment as they established their market gardens and farms. A wooden Bow saw with tensioning string, toggle and bladetools, woodwork, metalwork, carpentry, pioneers, market gardeners, early settlers, moorabbin, cheltenham, bentleigh, ormond

In 1955 the Polish Community in Chile wanted to Commemorate the 10th Anniversary of the ending of the 2nd World War but, since it was not a happy occasion, as Poland had been betrayed and placed in the Soviet sphere of influence, they chose to create a Pennant with a plea for the Patron Icon of Eastern Poland - Our Lady of the Sharp/Morning Gate (Matka Boska Ostrobramska/Zaranna) in Vilnius (Wilno) - to give them a new Miracle on the Vistula, in reference to an epic battle which took place on 15th August 1922 on the banks of the Vistula (Wisla) River in which the Polish troops defeated the Soviet Army and turned back the march of Communism to the West. This particular Pennant was purchased by Stanislawa Zamecznik (nee Zakrzewska), while living in Chile after deportation from her birth place in Sianozatki near Bychov (Bychow) to Schweningen in Germany from which they emigrated to South America as Displaced Persons. It was brought to Australia when the Zakrzewski Family emigrated from Chile in 1956, first to Port Augusta and then subsequently to Sydney.It is significant in that it tells the story of the aspirations of the Polish Diaspora displaced from it's Homeland in the Kresy Region and scattered throughout the World, including the Americas and Australia.Pennant of red cloth with screen printing in white, mustard yellow and black hung on copper wire with gold cord Front: Polish inscription "KROLOWO POLSKI / BLAGAMY CIE O NOWY / CUD NAD WISLA / SANTIAGO DE CHILE / 15.VIII.1955" Back: Spanish inscription "LA CASA DE BANDERIN AHUMADA 61"polish pennant polski proporczyk orzel eagle matka boska ostrobramska zaranna our lady of vilnus santiago chile cud nad wisla miracle on the vistula

Dr. Joseph Clover (1825-1882), an English physician, first described his Portable Regulating Ether Inhaler on Jan. 20, 1877. Clover was an especially sought after anesthesiologist and early pioneer in the specialty. This was the best-known of many inhalers that Clover designed. The dome-shaped reservoir was turned to points on a control dial to gradually increase or decrease the percentage of the air that passed over the ether. Several inventors based new inhalers on this, while the original continued to be manufactured as late as the beginning of WWII. Clover, to spare the patient the unpleasantness of induction with his "closed" inhaler (1877), suggested the "mitigated-ether" technique. The inhaler was fitted with a bypass tap for the reception of N2O. The bag was filled with the gas and anaesthesia was inducted a combination of N2O and asphyxiation. Ether was then admitted gradually by rotation of the bowl of the inhaler. When the patient had been duly "weaned over" to ether, the mask was lifted, the N2O allowed to escape, the bag refilled with exhaled air, and normal anaesthesia "a la Clover's inhaler" was continued.Metal domed chamber with a bulb attachment for rebreather bag, including a tap mechanism. Remnants of the paper rebreather bag are attached to the bulb. At the other end is a yellow facemask made of plastic (probably celluloid). The manufacturer's logo has been moulded into the dome of the chamber.Manufacturer's logo: THE HOLBORN / SURGICAL INSTRUMENT CO. LTD. / LONDON •Blue sticker with white writing: O.2.4.joseph clover, mitigated-ether, nitrous oxide, n2o, closed method

Michael Davitt was born in Straide, County Mayo, on March 25th 1846 at the height of the Great Famine. He was the second of five children born to Martin and Catherine Davitt. At the tender age of four Michael and his family were evicted from their home and forced to emigrate to Haslingden, Lancashire, England. At the age of eleven while working in a cotton mill, Davitt had his arm so badly maimed in an accident that it had to be amputated. At sixteen, while working for the local postmaster, he began evening classes in Irish history at the Mechanic's Institute. It was at this time that his thoughts began to turn to politics and he joined the Fenian movement in England. The Fenians Joining the Fenians in 1865 he rose through the ranks to become organising secretary for England and Scotland but was arrested in 1870 for arms smuggling and sentenced to fifteen years penal servitude. After seven years he was released on a ticket of leave.(http://www.museumsofmayo.com/davitt1.htm, accessed 21 January 2014)Images of a bearded man known as Michael Davitt. He is writing at a large table in a large room with chandelier. ballarat irish, davitt, michael davitt

Rosemary Myers spoke about Lizzie Daley in May 2012. She described the house as having lots of ornaments, and how she enjoyed going thereto buy ribbons and laces for a pair of baby booties she knitted for her school handwork at Melton P S 430. Margaret Nolan's memories of Lizzie: When we were young kids we would go down to visit our cousins, the Myers who lived on the Highway. My great grand mother Mary Luby lived in Reserve road when she came to Melton, she was married here in 1857. Her sister Ann nee Dowling was married to Henri Miers [Myers] in 1867. Her other sister Eliza married William Daley in 1862. He had a Bootmakers shop in the High street. Their daughter Lizzie later turned it into a haberdashery shop. We would go there to buy sewing threads and ribbons. Margaret nee Nolan Brooks memories recorded on the 20th September 2013 Book was from Lizzie Daley's shop in High Street, Meltonlocal identities

The large cedar desk was formerly used by the head light keeper at Point Hicks. It was made in the nineteenth century, probably by the Victorian Public Works Department (PWD) as an item of standard issue for use in government offices. The PWD operated in Victoria from 1855 to 1987 and was responsible for the design of Victoria’s major public buildings and other infrastructure including the supply of stores, furniture and equipment.The desk has turned legs, leather top and two drawers each with a pair of wooden knob hand pulls and is identical to the large desk remaining at Cape Nelson. A smaller version is at Cape Schanck, and another desk formerly at Cape Schanck is not able to be located. Gabo Island has a small cedar desk or table in the same style. Two sides of the Cape Schanck desk are stamped with the crown motif and monogram of the PWD but it is not known if the Point Hicks desk and the other nineteenth century examples are stamped with these details. There are also c.mid-twentieth century desks remaining in the collections at Wilsons Promontory and Gabo Island. officeThe Point Hicks desk has first level contributory significance for its historic values as government issued furnishing that is original to lightstation’s head keeper’s. Early, large two drawer cedar desk. Each drawer has two wooden handles. Leather insert on top of desk is worn. Commonwealth of Australia, Dept of Transport stamp with stock number on side of desk.On label on side, "C. of A. / D. O. T. / 143581"

Miss Olive Codling was a Foundation Member and a Life Member of the Wodonga Historical Society. Many of her prize-winning photos are held in the Society Collection. She also held a range of roles and committee positions in a wide range of Wodonga community organisations. WODONGA'S SECOND COURTHOUSE The Court House was situated in the Customs or Bond Store building alongside the Wodonga Police Station in 93 High Street. This was on the west side of High Street at its intersection with Bond Street. The building was converted to the courthouse in 1920. In early 1964, the courthouse building was burnt beyond repair and furniture and other property destroyed. The cause of the fire was never found. The Police Station was lucky to survive but only because of the efforts of the local Fire Brigade. After the fire, the court was held first at the old Fire Station premises near where the present Wodonga Post Office, then it moved to a vacant building in Mitchell Street which was later turned into a Child Care Centre. Foundations for the new courthouse in Elgin Street were laid in October 1965.This photo collection is significant as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the l20th century.2 black and white photos of the Court House, formerly used as a Bond Store for collection of customs.high st wodonga, wodonga court house

This photo provides an example of the beautiful costumes worn by Junior Legacy girls for Legacy's Annual Demonstrations at the Melbourne Town Hall. The girls are dressed as native American girls. A similar photo was featured in the Age Newspaper on 20 October 1952. The caption read 'These girls of the Legacy Club could pass for Indian lasses as they wait their turn to perform in the Totem Tom Tom at Melbourne Town Hall, They were among those who participated in Legacy's annual demonstration of physical culture, dancing and allied activities.' Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and eurythmics, the Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to the late 1970's, usually held at Melbourne Town Hall or Olympic Pool Stadium. The beautiful costumes were made by members of the Junior Legacy Mothers' Club and the Melbourne Legacy Wives' Association. The photo was featured in an article in the Legacy Newsletter in December 1952.A record of a Junior Legacy annual demonstration. This photo serves as photographic evidence of the effort put into the annual demonstrations.Black and white photo of performers in Native American costumes for the 1952 Demonstration.Stamped on the back of the photo, Copyright of Herald Sun Feature Service, in purple inkjunior legatee, annual demonstration, costumes

C. Glover and Sons Pty. Ltd. was founded on Brougham Street, Geelong c.1870. They operated as a wool and sheepskin storeroom situated on both sides of Brougham Street; where the current Elders building is located. The store was owned and operated by Joshua Glover with his brother Cyrus. A third brother Arthur also worked at the store. It was a very successful business and employed up to 40 men at its peak. Cyrus Glover died quite young, around 54, with his son Howard taking his place in the partnership at 23. During the Second World War the business was requisitioned by the Australian Government. Their wool was utilised to produce defence uniforms for Commonwealth personnel C. Glover and Sons was a very successful business which reluctantly closed its doors around 1975, as a result of the wool industry taking a downward turn Australia wide. It was decided by the family that this was the only option at the time. Howard Glover was Jan Glover’s (donor) father in law. Jan Glover donated these images to the National Wool Museum in 2021. Image 1 is a black and white image of a truck with 11 men standing in front. The truck is loaded with dumped bales of wool. The image is taken outside of the C. Glover and Sons' building. The reverse of the image is stamped. Image 2 is a black and white image of 2 rows of men. The first row of six men are sitting in their cricket whites. The second row of 10 men are standing in suits bar one-man 3rd from the right, who is also in his cricket whites. The image is taken on a cricket oval with the grandstand visible in the background. Image 3 is a black and white image of 12 men. The first 3 men are sitting on wool bales while the other 9 stand behind. The image shows the word 'record' spray painted on a piece of timber hanging behind the man. This is expressed in the men's faces with emotions of joy and celebration coming through. The men are standing in front of large machinery presumed to be used for wool pressing/dumping. Image 4 is a black and white image of 15 men and 5 horses in front of two large white sheds with triangular rooves. The men are all standing with the majority having their arms crossed. On the left is a cart carrying sheep skins. On the right are two smaller carts that appear to be carrying wool bales. Image 5 is a black and white image of a wool and hides storeroom. The ceiling is lined with multiple sheep skins while the floor has multiple wool bales neatly stored. In the background of the image, two men can be seen inspecting wool while sitting at a small white table. Behind this, 5 men are standing in a crowd while another man is seen to the left of the men at the table. This separate man is standing inspecting a wool bale. Image 6 is a black and white image of a wool storeroom. Numerous bales of wool can be seen open for inspection stacked semi-neatly one next to another. 6 men can be seen inspecting a bale of wool in a group. Another 5 men are present in the room performing separate duties.Image 1 Reverse. Black Stamp INTERNATION FOTO-NEWS / H. A SOETEKOUW / 52 GHERINGHAP ST., / GEELONG / PHONE X 2920 Image 2 Wording. Typed black lettering. Geelong Buyers and Brokers Cricket Team. Image 3 Wording. Blue handwriting RECORD OF PRESSING FOR ONE DAY / FORTY BALES / 1910 Image 4 Wording. Blue handwriting. 1890 Image 5 Wording. Typed black lettering. Messrs. Moss & R. Allan. / Government Sheepskin Appraisers. 1918. Image 6 Wording. Black Handwriting. C. GLOVER & SONS. APPRAISEMENT NO. 50 14/12/1944. / GOVERNMENT SHEEPSKIN APPRAISERS. MESSERS. R. BORLAND & H. V. McCALLUM / GEELONG REPRESENTATIVES. J. GLOVER & H. J. GLOVER. c. glover and sons pty. ltd, geelong 1870, brougham street, wool & sheepskin storeroom

These seven photographs were taken at Bones Day, an annual sports competition between the Army Survey Regiment and the RAAF School of Radio c1970s. The two units took turns each year to host the event and on this occasion was held at the RAAF School of Radio, Laverton. The day competition usually comprised basketball, cross country, golf, sailing, squash, softball, tennis, touch football, rifle shooting, tug-of-war and volleyball. The “big bone” trophy comprising a large bone from a beast housed inside a wooden framed glass case, was awarded to the winner of the day competition. The evening competition often included darts, carpet bowls, hookey, quoits and billiards/snooker. The “little bone” (a mounted chicken bone) was the consolation trophy awarded to the winner of the evening competition. The 3-hour bus trip for the visiting unit on their return was typically very raucous. The history of the Bones Day competition is best described in the booklet titled - Bones of Contention Souvenir Program. 1965. Refer to Item 6267.These seven photographs were taken at Bones Day, an annual sports competition between the Army Survey Regiment and the RAAF School of Radio at Laverton, Victoria c1970s. The photographs are on 35mm negative film. They are part of the Army Survey Regiment’s Collection. The photographic negatives were scanned at 96 dpi. There are additional photos taken at the time that have not been scanned. .1) - Photo, black & white, c1970s, L to R: Unknown, Heather Slater and unidentified RAAF personnel. .2) & .3) - Photo, black & white, c1970s, Bill Friswell playing snooker. .4) & .5) - Photo, black & white, c1970s, Bus trip back to Bendigo. Gordon Lowery, unidentified personnel. .6) - Photo, black & white, c1970s, Bus trip back to Bendigo. L to R: Peter Tieman (asleep), Phil Batchelder (Batchelor?), background Bill Friswell (at rear), Steve Gloster, Gordon Lowery (standing), Graham Bradtke, Andy Covington, Greg Towne, TJ Wicker, Roger Pearson (asleep), unidentified personnel. .7) - Photo, black & white, c1970s, Bus trip back to Bendigo. L to R: Peter Tieman (asleep), Phil Batchelder (Batchelor?), background Bill Friswell (at rear), Gordon Lowery (standing), Graham Bradtke, Greg Towne, TJ Wicker, Roger Pearson (asleep), unidentified personnel.1P to .7P – No personnel are identified.royal australian survey corps, army svy regt, rasvy, army survey regiment, raaf school of radio, asr, bones day

This map was produced by Richard Francis Tunley and given to the Victorian Braille Library for use by it's patrons. Mr Tunley was a prolific Braille map maker as well as producing other items for blind and vision impaired children, advocated for compulsory education for blind and deaf children and established the Queensland Braille Map and Model Club. Leading by example, his maps were treasured by those who used them and were an outstanding piece of craftsmanship. In this example, the metal cylinder sits on a wooden base and can be turned via a handle in the wooden top or rotating the sides. A brailled red metal plate occupies the bottom third, and large continents have a metal plate, cut to shape, upon which braille country/continent names are placed. Major rivers are traced through raised lines in the metal continental plates, twisted wire traces shipping routes with associated brailled metal plates, raised metal pins in some major locations and more explanatory plates sit in various oceans.1 metal cylindrical map with tactile markersCommercial & Strategic Map of the British Empire Presented to the Victorian Braille Librarybraille library of victoria, r.f. tunley

In 1945 the Reverend Harry Griffiths, who worked for the Methodist Inland Mission in Alice Springs, saw the need for a boarding facility for children of families living in remote areas in Central Australia who needed access to schools. He and his wife established Griffiths House, on a site in the town centre, and for many years it became home for students from all over the Outback, including many young Aboriginal people. In the late 1950's the Rev Fred McKay, successor to the Rev John Flynn as Superintendent of the Australian Inland Mission, lobbied the United Church in the Northern Territory to build and expand on this important start. Together the Presbyterian, Methodist and Congregational churches embarked on a missionary venture to develop St Philip's College - a new, larger residential hostel which would one day become a full boarding school. An ideal site - 22 acres of bush at the junction of the Charles and Todd Rivers and backing on to the Telegraph Station National Park - was secured and after six years of planning, construction began in 1964. Fred McKay led the legendary work parties comprised of volunteers from all over Australia who travelled to Alice Springs, paying their own way and volunteering their expertise, time and labour, to turn a dream into a reality. This fantastic tradition continues today, with work parties arriving each mid-year holiday. On 13 February 1965 the first boarders moved in to St Philip's College. For the first 24 years, therefore, St Philip's College operated as a residential hostel only. The College’s ninth Headmaster, Mr Christopher Tudor, arrived in 1986. He and the Council Chairman, Mrs Jan Heaslip, judged that the time was right to complete the original plan to turn St Philip’s College into a fully fledged independent boarding/day school, serving not only “bush” families, but also the growing population of Alice Springs. The then College Council embraced the idea and three years of frantic, determined preparation and planning commenced, culminating in an extensive $2 million building program in 1988. To this day there continues to be further development with the new landscaping underway near The Minnamurra Hall, Reception and Rivergum Cafe, plus the recent completion of the Science & Food Technology building and the new Rivergum Cafe.Head & Shoulders of Chris Eldridgest. philip's college, tudor, chris, eldridge, chris

In 1945 the Reverend Harry Griffiths, who worked for the Methodist Inland Mission in Alice Springs, saw the need for a boarding facility for children of families living in remote areas in Central Australia who needed access to schools. He and his wife established Griffiths House, on a site in the town centre, and for many years it became home for students from all over the Outback, including many young Aboriginal people. In the late 1950's the Rev Fred McKay, successor to the Rev John Flynn as Superintendent of the Australian Inland Mission, lobbied the United Church in the Northern Territory to build and expand on this important start. Together the Presbyterian, Methodist and Congregational churches embarked on a missionary venture to develop St Philip's College - a new, larger residential hostel which would one day become a full boarding school. An ideal site - 22 acres of bush at the junction of the Charles and Todd Rivers and backing on to the Telegraph Station National Park - was secured and after six years of planning, construction began in 1964. Fred McKay led the legendary work parties comprised of volunteers from all over Australia who travelled to Alice Springs, paying their own way and volunteering their expertise, time and labour, to turn a dream into a reality. This fantastic tradition continues today, with work parties arriving each mid-year holiday. On 13 February 1965 the first boarders moved in to St Philip's College. For the first 24 years, therefore, St Philip's College operated as a residential hostel only. The College’s ninth Headmaster, Mr Christopher Tudor, arrived in 1986. He and the Council Chairman, Mrs Jan Heaslip, judged that the time was right to complete the original plan to turn St Philip’s College into a fully fledged independent boarding/day school, serving not only “bush” families, but also the growing population of Alice Springs. The then College Council embraced the idea and three years of frantic, determined preparation and planning commenced, culminating in an extensive $2 million building program in 1988. To this day there continues to be further development with the new landscaping underway near The Minnamurra Hall, Reception and Rivergum Cafe, plus the recent completion of the Science & Food Technology building and the new Rivergum Cafe.Head & Shoulders of Chris Tudor.st. philip's college, tudor, chris, eldridge, chris

In 1945 the Reverend Harry Griffiths, who worked for the Methodist Inland Mission in Alice Springs, saw the need for a boarding facility for children of families living in remote areas in Central Australia who needed access to schools. He and his wife established Griffiths House, on a site in the town centre, and for many years it became home for students from all over the Outback, including many young Aboriginal people. In the late 1950's the Rev Fred McKay, successor to the Rev John Flynn as Superintendent of the Australian Inland Mission, lobbied the United Church in the Northern Territory to build and expand on this important start. Together the Presbyterian, Methodist and Congregational churches embarked on a missionary venture to develop St Philip's College - a new, larger residential hostel which would one day become a full boarding school. An ideal site - 22 acres of bush at the junction of the Charles and Todd Rivers and backing on to the Telegraph Station National Park - was secured and after six years of planning, construction began in 1964. Fred McKay led the legendary work parties comprised of volunteers from all over Australia who travelled to Alice Springs, paying their own way and volunteering their expertise, time and labour, to turn a dream into a reality. This fantastic tradition continues today, with work parties arriving each mid-year holiday. On 13 February 1965 the first boarders moved in to St Philip's College. For the first 24 years, therefore, St Philip's College operated as a residential hostel only. The College’s ninth Headmaster, Mr Christopher Tudor, arrived in 1986. He and the Council Chairman, Mrs Jan Heaslip, judged that the time was right to complete the original plan to turn St Philip’s College into a fully fledged independent boarding/day school, serving not only “bush” families, but also the growing population of Alice Springs. The then College Council embraced the idea and three years of frantic, determined preparation and planning commenced, culminating in an extensive $2 million building program in 1988. To this day there continues to be further development with the new landscaping underway near The Minnamurra Hall, Reception and Rivergum Cafe, plus the recent completion of the Science & Food Technology building and the new Rivergum Cafe.Tudor and Eldridge in conversation with the College in the background.st. philip's college, tudor, chris, eldridge, chris

A small number of heavy cast iron weights and two rods remain at the Point Hicks Lightstation. These weights comprise one rod with a forked top and four circular weights attached to the bottom of the shaft. The weights and rods were part of the original clockwork mechanism that was fitted beneath the lens to keep the kerosene‐fuelled light turning. They were attached to a cable or chains and moved vertically in similar fashion to the way weights move on grandfather clocks. As the weight fell, the optic clock was driven and the lens was turned. To keep the clock turning, the weight needed to be wound back up to the top of its travel. The cables and weights in this lighthouse were visible as they moved through the length of the tower up to the lantern room. It was usual for systems to move inside a tube extending up to the top, but in this case the tower’s cast iron spiral staircase, which is supported on cantilever cast iron brackets set into the concrete wall, spiralled around the space in which they moved. Lighthouse keepers had the arduous job of having to constantly wind the clock to keep the light active, and at least two keepers needed to observe a strict roster of hours. When electric motors were invented, all of this became redundant and the motors were able to turn the optic for as long as there was power to drive them. In December 1964, the original 1890 Chance Bros kerosene‐fuelled light and clockwork mechanism were replaced by small electric motor, and the number of keepers reduced to two. The six circular weights and rods originate from the obsolete system and may have been part of a larger set. Wilsons Promontory retains seven of its original set of ten weights, all of which are detached from the tower’s weight tube. Cape Schanck has a set of fourteen weights remaining in situ as well as another four detached weights, which have inscriptions. One weight is displayed in the lantern room at Cape Otway. The image shows four of the clockwork weights attached to a rod with a forked top. They were part of the original clockwork mechanism that was fitted beneath the lens to keep the kerosene‐fuelled light turning. The Aldis lamp in its case sits on the floor next to the weights. Source: Parks Victoria.The Point Hicks weights have first level contributory significance for the insights they provide into the superseded technology and operations of a late nineteenth century lighthouse. They are well provenanced and are significant for their historic value as part of the lightstation’s Chance Brothers optical system installed in 1890. Four circular metal weights are stored on a metal rod with a forked section at the top. The weights have a cut out section which allows the weights to be removed easily.

The original line to the Essendon Aerodrome was constructed in 1943 to serve the airport and aircraft construction. It was funded by the Commonwealth Government. By 1976, patronage to the airport terminus in Vaughan St had dropped, the crossing of the highway to the Tullamarine Airport opened in 1970, was dangerous, and the highway needed to be widened. The new terminus was a short distance to the north between Mathews Ave and the Highway. This series of photographs show the last day of operations to the original terminus and the changeover, which was done in about 7 hours. No buses were required. It was done by workers of the Melbourne and Metropolitan Tramways Board. The line was later extended to Airport West. .1 - W5 789, (Essendon Airport Route 59) about to turn from Mathews Ave into Vaughan St. Has new track and footbridge in the foreground. .2 - W5 791 on the siding or spur at the airport terminus, the last tram to use this facility. .3 - W2 571, at the Airport terminus alongside Vaughan St on the last morning of the use of this terminus. The Bundy clock can be seen behind the pole on the lefthand side and the Brick passenger shelter. Shows buffer stops, and Forestair hanger behind. .4 - W2 595 turning from Vaughan St into Mathews Ave. Has the tram stop No. 55 in the view. .5 - W5 839 turning from Vaughan St into Mathews Ave. Shows the flashing yellow light that gave some protection to the trams. .6 - W2 247 about to turn into Vaughan St. Driver about to reboard the tram. Note the new copper trolley wire is up for the new track but has been pulled to the west side using rope. .7 - W5 805, turning from Mathews Ave into Vaughan St, to the old Essendon Airport terminus. Has a new track in the foreground, and the overhead for the curves is still in position. .8 - W6 991 turning from Vaughan St into Matthews Ave, at 855am, the last tram from the old terminus. The track gang has commenced work to remove the outbound curve. Would appear four passengers waiting at the tram stop, two with lunch bags. Note the cattle grid in the foreground between the rails. New rails on the ground on the left-hand side. See Reg Item 6163 for further photos of this event.Yields information about the last day of the operation of the original Essendon Airport tram line.Set of 8 Kodachrome cardboard mount colour slides of the relocation of the Essendon Airport tram terminus 7-10-1976, by Ron Scholten.All slides have detailed descriptions on the reartrams, tramways, essendon aerodrome, essendon airport, closure, new tramways, route 59, w5 789, w5 791, w2 571, w2 595, w5 839, w2 247, w5 805, w6 991, w2 class, w5 class, w6 class, mmtb, trackwork

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/ The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl white ceramic. Crack on side. Badly stained.Backstamp very faint and unable to be read.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, mixing bowl, food preparation, kitchen equipment, ceramic

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/ This bowl is an example of kitchenware used in the 19th century and still in use today.Bowl white ceramic plain that has two sets of edging around lip. Inside bowl has plaster designed to look like cooking mixture.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, kitchen equipment, ceramic

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/This bowl was made by renowned pottery company J & G Meakin of England. The firm was established in the mid-1800's. The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl; white ceramic, round and tapering inwards towards base. Made by J and G Meakin England.On base, 'Ironstone China Reg SOL 391413' with symbolflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, mixing bowl, food preparation, j & g meakin, pottery, stoke-on-trent, kitchen equipment, ceramic

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/Ceramics have evolved over thousands of years.White earthenware dinner plate. Crazing evident all over.Backstamped ‘Made in England S LTD’flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ceramics, tableware