Edwin (Ted) Cannon was born at Ballarat on 30 July 1895, the only son of Edwin and Florence Cannon. He studied art at the Ballarat School of Mines Technical Art School. Ted displayed a talent for industrial design but it was his black and white work that 'drew' most attention. His cartoons and caricatures, heavily influenced by Phil May, were of a particularly high standard. During the Ballarat Exhibition of 1913 Ted's work was singled out for notice and he was awarded First Prize. After completing his art course Ted was employed as an assistant teacher at the Ballarat Technical Art School, before taking a position as cartoonist with the Ballarat Star newspaper at the end of 1914. With the war raging in Europe Ted discovered a darker aspect for his artwork, but, still, he could not resist depicting Turkey as a full-feathered, fez-wearing bird. In 1915 Ted was awarded the prestigious Victorian Education Department Senior Technical School Scholarship. Only months into his scholarship, Ted volunteered for the AIF. A keen member of the local 71st "City of Ballarat" Regiment Ted was already primed for a life in the army. He embarked from Port Melbourne on 23 November 1915 with reinforcements to the 6th Infantry Battalion bound for Egypt. It was during the Battle of Pozieres on the Western Front that Ted Cannon came into his own. His work with the Scout Platoon (under the command of Lieutenant Jack Rogers) sketching the enemy's gun emplacements proved invaluable to the Brigade and brought Ted to the attention of the Australian High Command. On 13 September 1916 Ted was given a special assignment for General C.B.B. White. Ted was sent out forward of the Old Mill at Verbrandenmolen (in the Ypres Salient) to draw a panorama of the German lines in the area from Hill 60 to The Bluff. It was a hazardous task and Ted was warned to be careful. Tragically he was sniped by an enemy machine-gunner and sustained severe abdominal wounds. Stretcher-bearers rushed him to the 17th Casualty Clearing Station where he was operated on by the doctors at 8.30 that night. With little chance of success, but ever resilient, Ted remained conscious almost to the end. He died early in the morning of the 14 September 1916. His body was buried in the large Military Cemetery at Lijssenthoek. See http://www.ballarat.edu.au/about-ub/history/art-and-historical-collection/ub-honour-roll/c/edwin-joseph-ted-cannon-1895-1916Digital images of a number of cartoons published in the Ballarat School of Mines Students' Magazine, 1916. Ted Cannon sent cartoons home to Ballarat from the World War One front.edwin cannon, ted cannon, cartoons, world war, world war 1

Francis Gordon Davis was born in Ballarat on 09 August 1899. He is the only former student of the Ballarat Junior Technical School who was killed on service during World War One. Davis enlisted into the Australian Flying Corps, Laverton, on 12 April 1918 at which time he was 18 and 8 months and served as a second class Air Mechanic. His service number was 3310. He died accidentally from shock resulting from an accident resulting from skidding a Leyland Motor Lorry at Leighterton, Tetbury, Gloucester, England on 28 January 1919 and is buried in Grave 6 in the Soldiers Corner of the Leighterton Cemetery. Francis Davis was accorded a full military funeral, firing party, bugler and pallbearers. The coffin was draped in the Union Jack and surmounted in several beautiful wreathes sent from his brother 2/A.M. E.H. Davis (A.F.C Leighterton), officer of the A.F.C. Leighterton, Gloucester, Cadets of A.F.C. and many other personal friends of the deceased. The "Last Post" was sounded at the graveside, and the Rev. Major K.D. Norman C. of E. A.I.F. officiated. The grave was to be turfed and an oak cross erected by the A.I.F. London. Administrative Headquarters A.I.F. London were represented at the funeral. (http://bih/index.php/Francis_G._Davis) In June 1922 Alfred Davis, the father of Francis Davis, planted a tree in the grounds of the Ballarat Junior Technical School in honour of hos son. It was the first tree of six planted in the grounds of the Ballarat School of Mines on Arbor Day 1922. Speaking of the planting of the tree by Mr Davis the Chief Secretary (Mr M. Baird M.L.A.), said he trusted the memory would ever remain green at the school. Had he and others not given their lives nothing that we could have done to-day could have retrieved the time. Australians had indeed done splendidly, but they should take a wider outlook than Australia, and reading the history of the Genoa Conference he had been struck by what had been done ... We should honor such men as he in whose memory that tree was planted, and the schools that sent them out to fight for us. He hoped the empire would always be able to produce such men, so that the Empire would always be able to lead the World's struggle for the benefit of humanity. The last post was then sounded by Mr. H. Green. ... (Ballarat Courier, 19 June 1922)A number of photographs of a tree and marble plaque in the grounds of the Ballarat School of Mines. It was a memorial to Francis Davis, a former student of the Ballarat Junior Technical School, who died on active service during World War One.ballarat school of mines, ballarat junior secondary school, world war one, memorial, marble plaque, marble memorial, tree, memorial tree, davis, francis davis

1959 was the first issue of 'Threshold'. In 1951 thirty girls started a junior technical course for the first time in Ballarat, under the Principal of the Ballarat School of Mines. By 1959 it had increased enormously with an enrolment of 284 students, and its own headmistress. The early school took place in the Dana Street Primary School and a large portion of the Ballarat Technical Art School. It was not thought necessary for girls to produce a magazine, but Joan Hood (Kirner) was determined that the girls would have the same opportunity as the boys. “When I went out teaching, I went to Ballarat Girls Tech, where I met [husband] Ron who was at Ballarat Boys Tech. They were seen as tough schools, and I saw the disadvantage faced by these girls who were at the lowest of the low of the education rung – and yet there were some fantastic girls there who needed equal opportunity. So I think it was teaching that cemented in my mind that people don’t get an even go – and in particular girls. It didn’t take me too long to realise blokes were largely empowered. And it was teaching that cemented how equity and empowerment for women could be achieved through education.” Sarah Capper: You graduated from Melbourne University in 1958, and as mentioned, began work as a teacher in Ballarat. You married Ron in 1960 and received one of those government letters asking you to resign - JK: Yes, I think it burnt a hole in my pocket when I brought it home! We were both teachers, and I said to Ron, “Well, you got married – where’s your letter?!” That really clarified that the world wasn’t quite even, even in this profession that I’d always wanted and loved. I didn’t get superannuation – I think I got something like 100 pounds as pay in lieu of permanent service. And that wasn’t just me – that was a whole generation. Fancy that – that’s what it said – “pay in lieu of permanent service”. So that made me livid. If I hadn’t been a feminist before then, I certainly was by then. I realised the distribution of power was different for women and men. http://sheilas.org.au/2014/02/a-bonza-joan-kirner/, accessed 06/06/2015 The four houses of the Ballarat Girls' Technical School were Bass House, Sturt House, Flinders House and Mitchell House. Orange and green soft covered magazine of 24 pages. Includes a message from the headmistress, Fay Moore, and a photograph of the Magazine Committee featuring teacher Joan Hook (later Joan Kirner, Premier of Victoria). Information and a photograph is given for the following personalities: Sandra McHenry, Sylvia Rowe, Heather Young, Beverley Davis, Lorna Robertson, Janice Hunter, Margaret Ayars, Margaret Veal, Heather O'Brien, Hilary Batt, Leone Davies, Marlene Drever, Janet Smith.ballarat girls' technical school, joan hood, joan kirner, fay moore, i.e. harris, faye hilton, marilyn miller, lesley cutts, margaret jones, moira blair, rosemary davies, lorraine button, vivienne guy, lorraine krankovich, loralie crabbe, beverley davis, shirley dean, lorrice campbell, hilary batt, valerie stewat, sandra mchenry, joy henderson

Francis Gordon Davis was born in Ballarat on 09 August 1899. He is the only former student of the Ballarat Junior Technical School who was killed on service during World War One. Davis enlisted into the Australian Flying Corps, Laverton, on 12 April 1918 at which time he was 18 and 8 months and served as a second class Air Mechanic. His service number was 3310. He died accidentally from shock resulting from an accident resulting from skidding a Leyland Motor Lorry at Leighterton, Tetbury, Gloucester, England on 28 January 1919 and is buried in Grave 6 in the Soldiers Corner of the Leighterton Cemetery. Francis Davis was accorded a full military funeral, firing party, bugler and pallbearers. The coffin was draped in the Union Jack and surmounted in several beautiful wreathes sent from his brother 2/A.M. E.H. Davis (A.F.C Leighterton), officer of the A.F.C. Leighterton, Gloucester, Cadets of A.F.C. and many other personal friends of the deceased. The "Last Post" was sounded at the graveside, and the Rev. Major K.D. Norman C. of E. A.I.F. officiated. The grave was to be turfed and an oak cross erected by the A.I.F. London. Administrative Headquarters A.I.F. London were represented at the funeral. (http://bih/index.php/Francis_G._Davis) In June 1922 Alfred Davis, the father of Francis Davis, planted a tree in the grounds of the Ballarat Junior Technical School in honour of hos son. It was the first tree of six planted in the grounds of the Ballarat School of Mines on Arbor Day 1922. Speaking of the planting of the tree by Mr Davis the Chief Secretary (Mr M. Baird M.L.A.), said he trusted the memory would ever remain green at the school. Had he and others not given their lives nothing that we could have done to-day could have retrieved the time. Australians had indeed done splendidly, but they should take a wider outlook than Australia, and reading the history of the Genoa Conference he had been struck by what had been done ... We should honor such men as he in whose memory that tree was planted, and the schools that sent them out to fight for us. He hoped the empire would always be able to produce such men, so that the Empire would always be able to lead the World's struggle for the benefit of humanity. The last post was then sounded by Mr. H. Green. ... (Ballarat Courier, 19 June 1922)A number of photographs of a tree and marble plaque in the grounds of the Ballarat School of Mines. It was a memorial to Francis Davis, a former student of the Ballarat Junior Technical School, who died on active service during World War One.ballarat school of mines, ballarat junior secondary school, world war one, memorial, marble plaque, marble memorial, tree, memorial tree, davis, francis davis, centenary

Edwin (Ted) Cannon was born at Ballarat on 30 July 1895, the only son of Edwin and Florence Cannon. He studied art at the Ballarat School of Mines Technical Art School. Ted displayed a talent for industrial design but it was his black and white work that 'drew' most attention. His cartoons and caricatures, heavily influenced by Phil May, were of a particularly high standard. During the Ballarat Exhibition of 1913 Ted's work was singled out for notice and he was awarded First Prize. After completing his art course Ted was employed as an assistant teacher at the Ballarat Technical Art School, before taking a position as cartoonist with the Ballarat Star newspaper at the end of 1914. With the war raging in Europe Ted discovered a darker aspect for his artwork, but, still, he could not resist depicting Turkey as a full-feathered, fez-wearing bird. In 1915 Ted was awarded the prestigious Victorian Education Department Senior Technical School Scholarship. Only months into his scholarship, Ted volunteered for the AIF. A keen member of the local 71st "City of Ballarat" Regiment Ted was already primed for a life in the army. He embarked from Port Melbourne on 23 November 1915 with reinforcements to the 6th Infantry Battalion bound for Egypt. It was during the Battle of Pozieres on the Western Front that Ted Cannon came into his own. His work with the Scout Platoon (under the command of Lieutenant Jack Rogers) sketching the enemy's gun emplacements proved invaluable to the Brigade and brought Ted to the attention of the Australian High Command. On 13 September 1916 Ted was given a special assignment for General C.B.B. White. Ted was sent out forward of the Old Mill at Verbrandenmolen (in the Ypres Salient) to draw a panorama of the German lines in the area from Hill 60 to The Bluff. It was a hazardous task and Ted was warned to be careful. Tragically he was sniped by an enemy machine-gunner and sustained severe abdominal wounds. Stretcher-bearers rushed him to the 17th Casualty Clearing Station where he was operated on by the doctors at 8.30 that night. With little chance of success, but ever resilient, Ted remained conscious almost to the end. He died early in the morning of the 14 September 1916. His body was buried in the large Military Cemetery at Lijssenthoek. See http://www.ballarat.edu.au/about-ub/history/art-and-historical-collection/ub-honour-roll/c/edwin-joseph-ted-cannon-1895-1916 Digital images of a number of cartoons published in the Ballarat School of Mines Students' Magazine, 1916. Ted Cannon sent cartoons home to Ballarat from the World War One front.edwin cannon, ted cannon, cartoons, world war, world war 1

James Watkin (1805–86), Pioneer Missionary. James Watkin was born in Manchester in 1805. While still young he felt the call to preach and in 1830 was accepted as a candidate for the Wesleyan Ministry. In the same year he married Hannah Entwistle and they sailed with a missionary party to Tonga. The work of the mission was jeopardised by prolonged and involved struggles between Christian and non-Christian Tongan chiefs; Watkin faced alone the danger of tribal warfare, but the experience left him depressed and exhausted. On his removal with his family to Sydney in September 1837 he prayed for a return home to England. Instead, when John Jones offered a free passage for a missionary appointed to Waikouaiti, where Jones had a whaling station, Watkin was selected for the post and arrived there in May 1840. Here he established the first mission station in the South Island. Watkin found the whaling settlement of Waikouaiti a centre of violence, licentiousness, and drunken depravity. Thoroughly disliking the corrupted Maoris and convinced that they were doomed to extinction, and disgusted by the brutality and vices of his fellow Europeans, Watkin laboured without hope, in the bitterness of exile and with deepening depression and distress. In spite of an abhorrence for his situation he established schools at Waikouaiti and Matanaka, and stationed partly trained Maori teachers at Stewart Island and at Moeraki. He had a natural flair for languages, preached in Maori four months after his arrival, and compiled an elementary reading book to be printed in Ngai Tahu. In November 1840 Watkin was greatly disturbed by Bishop Pompallier's visit to Otago. When, however, this was followed by Anglican intrusion – for Bishop Selwyn visited Otago in January 1844 – Watkin thought of withdrawing his own Maori teachers and abandoning the field. Never reconciled to his position at Waikouaiti, Watkin was relieved by Charles Creed and in June 1844 he sailed for Wellington, leaving 227 church members in Otago. In 1855 Watkin settled in New South Wales, and was president of the National Methodist Conference at Adelaide in 1862. He retired in 1869 and died on 14 May 1886, at Ashfield, New South Wales. 'WATKIN, James', from An Encyclopaedia of New Zealand, edited by A. H. McLintock, originally published in 1966. Te Ara - the Encyclopedia of New Zealand URL: http://www.TeAra.govt.nz/en/1966/watkin-james (accessed 30 Apr 2018) B & W engraving from a photograph of the Rev. James Watkin.Revd. James Watkin, Australia Engraved by J. Cochran from a Photograph.

Sunshine West High School started in 1960 with classes held in the old church and the church hall of St Mark's Anglican Church, Sunshine, Victoria, 3020. The school transferred to Lachlan Road, West Sunshine when the new building was completed. In 1961 the proportion of students from European background was almost 52% and those of British-Australian almost 48%. By 1965 the number of students totalled 699, with 28 of them being the first to do the Form 6 (Year 12) Matriculation exam. By 1969 the number of students had increased to the point that some classes were held in shelter sheds. In 1992 the multi campus Sunshine College was formed through the amalgamation and restructure of six schools: Sunshine West High School, Sunshine Technical School, Ardeer High School, North Sunshine Technical School, Sunshine High School, and Tottenham Technical School. The last two school sites were closed and are now occupied by Victoria University and the Tottenham English Language Centre respectively. Sunshine West High School became the junior West Campus of Sunshine College. The style of school uniform displayed here is not used by the Sunshine College. The girls had two sets of uniforms, one for the summer and one for the winter. The frock and blazer (as displayed) were for the summer but a grey straw hat, grey socks, and black shoes were also part of the compulsory uniform. The displayed grey v-necked jumper could be worn in both summer and winter. The winter outfit consisted of a blue shirt, a tie (as displayed), a grey box pleated tunic, blazer, grey stockings, black shoes, a blue felt hat and grey gloves. Of particular interest is that the boys did not have to wear the feminine looking style of grey jumper with the pink and blue stripes. They wore a dark blue jumper. There was a 'uniform inspection' carried out after the Monday morning assembly and the Prefects had the task of policing students to make sure that they wore the full complement of items, both to and from school. The 3 badges indicate that the female student was a member of the School Council, which had replaced the Prefects around 1969 or 1970, and she was also Captain of one of the 4 Sports Houses and of her Form. Sources of information: (1) http://www.sunshine.vic.edu.au/history.htm (accessed 4/11/2015). (2) Book - 'Harvester City' by Olwen Ford (page 412). (3) Discussions with two former students.Sunshine West High School played a significant part in the secondary education of local children, however the school had a relatively short life span in its own right during the latter part of the twentieth century. The items of girls school uniform, the school insignia, and the 3 metal badges serve as a historical reminder of the previous existence of the school, and of the colours and designs of these items.Four items of girls school uniform plus 3 metal badges: (1) Dark blue blazer with school insignia on the left breast pocket. (2) Blue and white striped frock. (3) Light grey v-necked jumper with dark blue, light blue, and pink stripes around the neck and the cuffs. (4) Dark blue tie with light blue and pink diagonal stripes. The 3 badges are School Captain, House Captain, and Form Captain.Insignia on blazer - SWHS / COURAGE AND WISDOMsunshine west high school, girls school uniform, carland, blazer, frock, school jumper, swhs, courage and wisdom, junior campus, west campus, sunshine college, 1960, 1991

The Napoleon (BML) gold mine (1932) was located near McDougall Road, Golden Gully, between Martin and Hattam Street. It had a depth of 921 feet. It was one of the latest and most lavish of Bendigo's mines. Plant and equipment were electrically driven. The four-compartment shaft, extra large by goldfield's standards, measured 17 feet 6 inches by 5 feet 2 inches and was cement lined below 900 feet instead of being red gum boxed as was the usual practice. The workshop was equipped to carry out all repairs for the equally lavish BML mines on the Nell Gwynne and Carshalton reefs. (The Gold Mines of Bendigo, Book 2, Arthur Victor Palmer) 'Napoleon BML Mines No Liability have issued a report for the fortnight ended September 5, where it states that the development scheme has been formulated and necessary equipment is being ordered. The Napoleon main shaft, (about 1700 feet south of the old Napoleon shaft) will be a four compartment shaft (17ft 6 inches by ft 2 inches inside the timber). aLevels will be opened at approximately 100 ft vertical intervals and cross-cuts extended approximately 125 ft each side of centre country to explore a cross-section across the anticline opposite to the shaft. At every fifth level, main drives will be extended north to connect with the old Napoleon shaft and south approximately 1800 ft. At the latter point, another cross-section of the anticline will be explored by rising and cross-cutting. The old Napoleon will be unwatered and on the 500ft and 1000 ft levels main drives will be driven to connect with main levels from the Napoleon main shaft to the south as well as being driven north 1800 ft where another cross-section of the anticline will be explored. Cross-sections further north and south may be developed as desired and also at intermediate points if necessary. Clearing and grading of the main shaft site are now in progress and the erection of the office and store building is proceeding. The design of engine room, change house and machine shops is now in hand and erection will proceed as soon as working plans and specifications are prepared.' The main shaft has been commenced at 3ft and advanced 10 ft. to 13 ft. https://trove.nla.gov.au/newspaper/article/10975478?searchTerm=napoleon%20bml (The Argus, 8th. September 1934, 'Mining' page 18) Significant to mining history of Bendigo.Black and white photograph of a stamper head being lowered into position on the battery site of the Napoleon Reef Gold Mine. A wooden gantry supports the battery head as it being lowered. Three large concrete foundations are visible in immediate background, two of which have stampers already in position, the third stamper is being lowered onto the final foundation. In immediate foreground, 'boxing' is erected for future concrete pours. napoleon gold mine, napoleon reef gold mine

Our Eltham - Artistic Recollections by Jim Connor, EDHS newsletter No. 236 October 2017 The Eltham Cemetery Trust, established in 1858, selected the existing burial site at Mount Pleasant Road on high ground overlooking the village of Eltham. The first recorded burial took place in 1861 in the Church of England section. Headstones depict the names of many early and well known local families. In recent years the Trust has encouraged the use of creative artistic elements within the natural bushland environment in their landscaped grounds adjoining Montsalvat. Their ongoing vision has been to offer the local communty a fresh and unique relationship to the Cemetery. On Thursday 21st September 2017 their latest commissioned art project titled ‘Our Eltham - Artistic Recollections’ was unveiled. It is a collection of panels collaboratively created by artist Nerina Lascelles and ceramicist Linda Detoma. The project was designed and constructed by Leigh Wykes using Australian stone with ironwork by Neil Carter. All contributors to this installation, located adjacent to the car park near Metery Road, are residents of the Eltham area. Our Eltham - Artistic Recollections is described as a celebration of life in the Shire since the opening of the Eltham Cemetery more than 150 years ago. Depicting scenes of life in and around Eltham, the collection offers deeper connections to the Eltham area through a series of visual narratives of Eltham’s past, environment and community. The project involves the artistic interpretation by Nerina Lascelles of historic and current images symbolically intermixed with locally indigenous flowers and plants. These are displayed on thirty-one ceramic panels by Linda Detoma, mounted within an iron fence by Neil Carter, upon an attractive rock wall constructed by Leigh Wykes. The Eltham District Historical Society is pleased to have contributed to this project. Russell Yeoman and Jim Connor from our Society have collaborated with Liz Pidgeon, Local and Family History Librarian at Yarra Plenty Regional Library on a selection of photographs, many from the Shire of Eltham Pioneers Collection we hold in partnership, located at Eltham Library. We also provided information on the images chosen. The Eltham Cemetery Trust has produced a booklet about this artwork, which can be viewed on the Cemetery website at: http://www.elthamcemetery.com/oureltham/#1 Our Eltham - Artistic Recollections is a significant monumental installation, which will encourage visitors to come to view this outstanding combination of local creative skills, set within the attractive grounds of the Eltham Cemetery. jim connor collection, eltham cemetery trust, montsalvat, our eltham artistic recollections, 2017-09-21

Photo taken at the east end of the school. 1. Head Teacher John Brown served as HT from 1889 to his death in Sept 1906. 2. 53 Girls and 42 boys - 95 - attendance figures known between 1899 and 1906. 3. Female teacher in both photohraphs is Miss Amy E Barrowclough (Oct 1900 through 1904) [150th anniversary book incorrectly identifies her as Ellen Sweeney] 4. Youth in doorway is the Monitor, Harold Gilsenan (1904) 5. Post and rail fencing along Dalton Street (seen behind John Brown) was built in the upgrade of 1903 These facts date the photographs to be c.1904-c.1905 [Harry Gilham] Ina Falkiner is top row 4th from left Gertrude Falkiner is bottom row seated 4th from left. (Identified by Gertrude's garnddaugher and Ina's great neice, Judith Vun, email 26 May 2022) John Brown died 23 Sept 1906 after a short severe illness at age 55 and is buried in Box Hill Cemetery (Evelyn Observer 28 Sep 1906 p2). The book "We did open a school in Little Eltham" incorrectly states his date of death as 16/12/1906. Title The Evelyn Observer. (1906, September 28). Evelyn Observer and Bourke East Record (Vic. : 1902 - 1917), p. 2 (MORNING.) Url http://nla.gov.au/nla.news-article61129880 Description It is with sincere regret we record the death of Mr. John Brown, State school teacher, Eltham, which sad event took place at his residence, "Pine Brae," on Sunday night last, 23rd inst. after a severe illness of some few weeks' duration. The deceased gentleman was highly respected, and always took a lively and active interest in promoting the progress and prosperity of the district, and his loss will be much felt, He was only 55 years of age, and leaves a wife and large family to mourn their loss, and much sympathy is felt for them. The remains of the deceased were interred in the Box Hill cemetery on Wednesday afternoon last. PANEL 1875-1920 Panels began to be produced around 1875, and were particularly suited, because of their larger size, for capturing family, or even larger, groups. They measured 8.5 by 6.5 inches (22 cm x 16.5 cm). - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 3, class photo, eltham primary school, eltham state school no. 209, 1904, gretrude falkiner, ina falkiner, john brown, miss amy e barrowclough, state school no. 209, theodor black photographer

Photo taken at the east end of the school. 1. Head Teacher John Brown served as HT from 1889 to his death in Sept 1906. 2. 53 Girls and 42 boys - 95 - attendance figures known between 1899 and 1906. 3. Female teacher in both photohraphs is Miss Amy E Barrowclough (Oct 1900 through 1904) [150th anniversary book incorrectly identifies her as Ellen Sweeney] 4. Youth in doorway is the Monitor, Harold Gilsenan (1904) 5. Post and rail fencing along Dalton Street (seen behind John Brown) was built in the upgrade of 1903 These facts date the photographs to be c.1904-c.1905 [Harry Gilham] Ina Falkiner is top row 4th from left Gertrude Falkiner is bottom row seated 4th from left. (Identified by Gertrude's garnddaugher and Ina's great neice, Judith Vun, email 26 May 2022) John Brown died 23 Sept 1906 after a short severe illness at age 55 and is buried in Box Hill Cemetery (Evelyn Observer 28 Sep 1906 p2). The book "We did open a school in Little Eltham" incorrectly states his date of death as 16/12/1906. Title The Evelyn Observer. (1906, September 28). Evelyn Observer and Bourke East Record (Vic. : 1902 - 1917), p. 2 (MORNING.) Url http://nla.gov.au/nla.news-article61129880 Description It is with sincere regret we record the death of Mr. John Brown, State school teacher, Eltham, which sad event took place at his residence, "Pine Brae," on Sunday night last, 23rd inst. after a severe illness of some few weeks' duration. The deceased gentleman was highly respected, and always took a lively and active interest in promoting the progress and prosperity of the district, and his loss will be much felt, He was only 55 years of age, and leaves a wife and large family to mourn their loss, and much sympathy is felt for them. The remains of the deceased were interred in the Box Hill cemetery on Wednesday afternoon last. PANEL 1875-1920 Panels began to be produced around 1875, and were particularly suited, because of their larger size, for capturing family, or even larger, groups. They measured 8.5 by 6.5 inches (22 cm x 16.5 cm). - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 3, class photo, eltham primary school, eltham state school no. 209, 1904, harold gilsenan, john brown, miss amy e barrowclough, state school no. 209, theodor black photographer

Phenyle has been used for decades as a cleaner and disinfectant. It is well know for its use for cleaning outdoor toilets and easily identified by its strong odour. The brown glass bottle is immediately recognised as containing a poison. We've all seen them in a hundred different mystery movie scenes. The medicine cabinet opens and there, sitting on a shelf, is the incriminating object -- the ominous dark bottle with the skull and crossbones on the label. In off-screen reality, however, poison bottles have quite a different identity -- they are distinctive, varied, colorful -- and definitely collectible. Obviously, the one thing that sets the poison bottle apart from all other bottles is the need for prominent and immediate identification as a receptacle for toxic material, and this was achieved in a number of ways, including shape, color, embossing and labeling. Poisons were commonly found in the home for the purpose of controlling rodents and other pests, and were sold by grocers and druggists. For consumer protection, as far back as 1829, New York State made mandatory the marking of the bottles with the word "poison" in large letters. Then, in the middle of the 19th century, the American Pharmaceutical Association recommended legislation regarding identification of all poison bottles. In 1872 the American Medical Association also made recommendations -- namely that poison bottles be made of colored glass, and also have a rough surface on one side -- making them identifiable even in the dark -- and the word "poison" visible on the other (the skull and crossbones wasn't quite as ubiquitous as those movies led us to believe). However, passing these laws was not easy, and the manufacturers were essentially left to do as they wished. For collectors, the high point of poison bottle manufacturing was the period ranging roughly from the 1870s to the 1930s. At that time some, of the bottles were distinguished by particularly bright colors, such as cobalt blue (the most common) and emerald green. Others, particularly rare and collectible, had unusual -- and appropriate -- shapes, including skulls, leg bones and coffins. In order to better identify these lethal vessels by feel (not forgetting that there were many people in this period who could not read) when groping for them in the dark, they had such elaborate tactile patterns as quilted diamonds, lattices, hobnails and prominent vertical or horizontal ribbing, as well as spiky knobs and ridges. In addition, many had sharp points on top for the same precautionary purpose. Further efforts to distinguish poison bottles from others included uncommon multisided and triangular shapes, and unusual, hard-to-open tops, the predecessors of the modern child-proof openings. https://www.southcoasttoday.com/story/lifestyle/2001/08/19/poison-bottles-steeped-in-history/50352280007/The recognition and awareness of bottles containing poisonpous substances is extremely important for safety reasons.Bottle, brown glass, diamond shaped. "Bright Star" phenyle. Paper label attached, but peeling off and badly damaged. Corked with contents. Text moulded into glass, some with a border of stars. Poisonous contents, not to be taken. Registered Number 2140. Volume is 20 fluid ounces. Printed label "Bright Star". Text is moulded in the glass in raised lettering: "PHENYLE" outlined and decorated with star border. "POISONOUS", "NOT TO BE TAKEN" "V / DM / A" within oval, "REGD NO. 2140" (D and O are smaller and underlined) . Base is marked "F190".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bright star, phenyl, cleaning and disinfecting chemical, poison, bottles

From the early days of our race, the knife represented one of the first and most important tools that enabled rise of our technology, military, culture, science and all other things that brought us to this point of modern civilisation. As a vital tool for survival, combat, construction and food preparation, the knife quickly became the most basic tool from which all others were born. In those ancient times, 500,000 years ago, sharpened stones started slowly evolving, becoming more and more like their modern counterpart. Before the time when fire enabled the melting of the various metals, and forging them into modern knives, their stone counterparts received several visual upgrades. Double bladed knives were most popular, and their wooden or stone hilts were decorated with animal skins and feathers. Those knives represented a great deal of pride for the warriors and elders who owned them, and that tradition continued to be practised with the arrival of the Bronze Age. The appearance of metallurgy brought the ability to create knives from softer types of metal. Even though knives from bronze did not provide durability over longer periods of time [easily dulled, and susceptible to corrosion), their sharpness and slim designed proved to be superior to any stone knife tool. As the centuries went on, iron and then steel became commonplace across the entire world. Knives created from those materials were much more durable and easier to maintain their sharpness after prolonged use. During medieval times in Europe, steel metallurgy managed to evolve knives from small single or double-bladed edges to larger sizes - swords, spears and axes. Even with all those advancements, the use of knives as an eating utensil continued to be used in some small circles. Even as early as the 15th century, wealthy circles of people started carrying personal knives, intended for double use - both eating and defending against threats. During those times the host were not obliged to provide their guest with any kind of eating utensil in addition to plates, so wealthy males used their eating knives for cutting their own meals, and the meals of nearby female guests. Slim double-bladed knives were good for cutting and piercing foods. As the use of forks became widespread in the whole of Europe by the late 17th century, most people used this kind of small knife on a regular basis (a combination of two knives, one for stabilising and other for cutting the meal). http://www.eatingutensils.net/history-of-cutlery/knife-history/The knife is one of the most important items that has enabled the development of civilisation over thousands of years.Carving knife with wooden handle and rusted slender metal blade.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, knife, kitchen equipment, dining

This photo is thought to have been taken at the time of Alfred Mica Smith's retirement from the Ballarat School of Mines. It is most probably also the unveiling of the Max Meldrum portrait of Smith. Alfred Mica Smith retired from the Ballarat School of Mines in 1922 after an association of 41 years and aged 78 years. At the August meeting of the Ballarat School of Mines Council in 1881 it was resolved that 'Alfred Mica Smith Esq., B.Sc., be appointed Professor in Chemistry and Metallurgy and be Superintendent of the Laboratories, for the period of twelve months at a stipend of five hundred pounds per annum, and to commence duty as soon as possible'. (signed: James Oddie, Vice-President) Smith played a major role in the years of 1887-1893 when SMB was affiliated with Melbourne University. In 1912 he became Professor of Metallurgy and received an annual salary of 250 pounds. Alfred Mica Smith presented many scholarly papers, gave evidence at government enquiries into the safety of mines and became an authority on mine safety and ventilation. He was on the Mines Ventilation Board. Professor Smith was the public analyst for the City of Ballarat and Town of Ballarat East, as well as to a number of other boroughs and shires. He was also Chief juror to the Adelaide International Exhibition, chemical section. He provided information to the Royal Commission on gold mining (1889, 1891), and was President to the chemistry section of Australian Association for the Advancement of Science, Associate of American and Australasian Institute of Mining Engineering, Member of the Science Faculty Melbourne University, and Hon. Life Member of the Miner Managers' Association of Australia. He also was involved in many educational and community affairs such as President of the SMB Students' Association, President of the Ballarat Science Society, first President of the Ballarat Camera Club, Vice President of the Field Naturalists' Club, and he presented Ballaarat Fine Art Gallery with his collection of paintings and porcelain ware. His legacies include the mutual regard between him and his students, the many tributes by former students, the Mica Smith scholarship (established in 1923) and now known as the Corbould-Mica Smith Travelling Scholarship, his portrait in oils by noted artist Max Meldrum, and the marble bust of Smith sculptured by Paul Montford. Money for a scholarship in sanitary science at the University of Manchester in the name of his uncle R. A. Smith was left being set up in 1928. Smith died of cancer on 14 May 1926 and his remains, cremated at Springvale, were interred in the Ballaarat New Cemetery. See http://guerin.ballarat.edu.au/curator/honour-roll/honourroll_Smith,%20Alfred%20Mica.shtml Black and white mounted photograph showing a number of men sitting around two dining tables at Craig's Royal Hotel in Ballarat. Professor Alfred Mica Smith of the Ballarat School of Mines is standing 15 from the left, and is the subject of the painting on an easel to the left. The painting was presented to the Ballarat Fine Art GalleryLower right of mount 'Victa Studios Ballarat' Verso (typed and glued on): Presentation to professor Mica Smith, Craig's Hotelballarat school of mines, craig's hotel, craig's royal hotel, alfred mica smith, art gallery of ballarat, ballarat fine art gallery, portrait, frederick martell, daniel walker

The Morwell War Memorial Morwell War was unveiled on 06 June 1921. The Memorial was originally the level crossing between Commercial Road and Station Street (later Princes Highway). It was later moved to its present position on the Princes Highway opposite Hoyle Street. (http://www.morwellhistoricalsociety.org.au/warmemorial.htm) Names Inscribed on War Memorial – World War 1 *Killed in action * Allis G. Francis J. Pettit H. Amiet C. Graur R. L. Pryor W. * Amiet F. D. Hall J. A. Pryke R. Anderson C. Hall S. D. Rowell F. Billingsley A. H. Hare Bert Rowe C. Butters C. * Handler P. Ronald A. Q Butters R. Hogan E. J. Rintoull W. G. (D.C.M.) Brown H. H. Kleine F. W. Saddler J. Brinsmead F. S. Whitelaw A. Smith C. Collins W. Whitelaw D. Symons H. Collins J. S. F. Keegan F. Thomas L. G. Cooper H. S. Little K. Thomas R. W. Capon W. V. Lock E. * Thomson R. H. Davey R. R. Lyons C. * Tulloch J. Davey E. W. Lyons R. P. Vunell C. R. E. Davey W. R. Miller F. Vinall H. V. Davey C. E. Maher A. Wood A. Duncanson J. Maher L. Wilkins F. Dusting C. * McIntosh A. Warnett J. * Dusting H. Neal A. E. Warnetyt W. H. Derham H. * O’Donnell T. Young J. A. World War 2 – Killed in action Allen H. A. Eason L. W. McDonald D. Angus C. P. Evans H. T. Muncaster J. Bolitho H. Ferguson R. W. Murray A. M. Bolton C. R. A. Gair N. Peter T. Bowden N. J. Green D. I. A. Read L. H. M. Brudge W. G. Hewat G, A, Roy E. W. Catterick J. H. Horsefall L. Sillcock R. R. Deanne A. Johnson F. Stagg J. L. Deering C. J. King L. S. Templer R. C. Doolan W. T. Lawrence F. E. Tienery R. Dickson L. H. McArthur D. Turner R. H. Williams R. K. Vietnam War – Killed in action Adrian RichColour photograph of a life sized Australian soldier wearing a slouch hat, on top of a large raised platform. A commemorative plaque is depicted in the foreground. The front inscription of the memorial reads: "This plaque was erected in memory of those who paid the Supreme Sacrifice in the Boer War [Names] Erected by the residents of Morwell riding as a tribute to the men resident in the riding who enlisted and in memory of those who made the Supreme Sacrifice in the Great War 1914-19 [Names] This plaque is erected in memory of those who paid the Supreme Sacrifice in World War II and Korea [Names] In affectionate remembrance of A. Rich R.A.R killed in action Vietnam 1962-72"The plaque in the foreground reads" "Centenary Commemoration Plaque This plaque commemorates 100 years since the first World War commended in 1914 and Australian and New Zealand (ANZAC) troops landed at Gallipoli on 25th April, 1915. Members of the Morwell RSL Sub-Branch will always remember the sacrifices made by service personal to give us the freedom we enjoy the this day. They Shall grow not old, as we that are left grow old Age shall not weary them, nor the years condemn At the going down of the sun and in the morning We will remember them Lest We Forget."morwell, morwell war memorial, world war one, anzac centenary, gippsland

Theodore Jesse Hoover, brother of the 31st President of the United States, was born in West Branch, Iowa, on January 28, 1871. He attended Stanford and received the Bachelor of Arts degree in Geology and Mining in 1901. Following graduation his professional career started with the position of assayer for the Keystone Consolidated Mining Company. After one year, he became assistant manager for the Standard Consolidated Mine, and a year later he was promoted to manager of the operation. In 1907 Hoover went to London as general manager of Minerals Separation, Ltd. This company was developing the froth flotation process for recovering minerals from ores. Hoover took an active part in the development of the flotation concentration process and authored one of the first books on the concentration of ores by flotation. After four years with Minerals Separation, Ltd., Hoover entered private practice as a consulting mining and metallurgical engineer with offices in London and in San Francisco. He was very successful and held positions of consulting engineer, managing director, director, and president of many mining companies in America, Europe, Asia, Africa, and Australia. He returned to Stanford in 1919 as Professor of Mining and Metallurgy and Executive Head of the Department of Mining and Metallurgy. His experience and ability in organization made him a natural leader. He was influential in the formation of the School of Engineering at Stanford. The School was formed in 1925 and he was made dean, a position he held until his retirement in 1936. As dean of engineering, he promoted a broad fundamental training program for undergraduate engineering students. Under his guidance, emphasis was placed upon graduate work and he was responsible for developing strong graduate engineering curricula at Stanford. While dean he continued teaching and his course, "The Economics of Mining," developed into a book which was published in 1933. He became interested in the functions of engineers and, with Professor Fish, wrote a book entitled "The Engineering Profession" which was published in 1940 and revised in 1950. In addition to his academic activities he was generous in his hospitality. Faculty and students alike enjoyed the annual field day and barbecue at his Rancho del Oso, near Santa Cruz. He was widely read and had a lively interest in all the things he encountered. He speculated on the antiquity of man and man's early production processes. To verify an idea regarding flint tools, he studied their shapes and became proficient in making arrow heads. He was also interested in wild life, and was one of the founding members of the Cooper Ornithological Society. (http://engineering.stanford.edu/about/bio-hoover)Blue hard covered book of 547 pages including an index. Contents include mine valuation (sampling, ore deposits, ore reserves, financial provisions, sale of mineral product, metal prices, reports) and Mining Organization (Co-operative effort, Mining Companies, Promoting Mining Enterprises, fluctuations of share prices, valuation of mining shares, fakes and fallacies, the mining Engineer and the law) and Mine Management (Organization of staff, mine manager, efficiency, industrial relations, training and discipline, safety).inside cover 'Charles Bacon Mackay School of Mines'.mining, economics, hoover, stanford, mackay school of mines, mackay, bacon

The HMAT A18 Wiltshire (1912-1922) weighed 10,390 tons with an average cruise speed of 13.5 knots or 25.00 kmph. Described as a refrigerated steamship it was b uilt 1912 by John Brown, Clydebank for the Federal S N Co Ltd, London and was propelled by a twin screw, quadruple expansion engine 2 x 4 cylinders each 6500 hp. Owned by the Commonwealth & Dominion Line Ltd, London, it was leased by the Commonwealth until 2 October 1917. It embarked from Egypt on 2 February 1918. On 18 October 1914 at Melbourne embarked the 4th Light Horse Regiment (Victoria) A, B & C squadron & their Machine Gun Section, the 2nd Field Ambulance (Victoria) First Division. The disembarked the 4th Light Horse Regiment in Egypt on 10 December 1914. On 01 November 1914 The Wiltshire assembled with the first convoy at King George's Sound, Albany Western Australia in transporting the first detachment of the Australian and New Zealand Imperial Expeditionary Forces. It completed nine transport voyages from Australia commencing 18 October 1914 until final voyage from Sydney 9th November 1918. During that time The Wiltshire carried the 4th Field Artillery Brigade (Victoria) 2nd Division Artillery and their 1st Reinforcements, 1st Division Ammunition Column 1st Division Artillery 4th Reinforcements, thirty-four Infantry Battalion Reinforcements, the 10th, 11th & 12th Field Artillery Battery (Victoria) 4th Field Artillery Brigades, the 4th Brigade Ammunition Column 4th Field Artillery Brigade, the 1st Siege Artillery Brigade 15th Reinforcements, the 4th Light Horse Regiment (Victoria) A, B & C squadron & their Machine Gun Section, six Light Horse Brigade Reinforcements, the 1st Veterinary Section (New South Wales) 11th Reinforcements, the 1st Mobile Veterinary Section (New South Wales) 1st Division 11th Reinforcements, the 2nd Mobile Veterinary Section (Victoria, New South Wales) 2nd Division 11th Reinforcements, the 1st Cyclist Battalion (New South Wales and Queensland) 3rd Reinforcements, the 2nd Field Ambulance (Victoria) First Division & Medical Officers. After the conclusion of World War One is was wrecked Rosalie Bay, Great Barrier Island New Zealand 31 May 1922 on passage London for Dunedin. Onboard was a crew of 103 plus 1 stowaway, and 10,000 ton of general cargo. No lives lost and is now a well frequented 'Dive' wrecksite. (http://www.flotilla-australia.com/hmat.htm#A18)Photographic postcard of the troopship Wiltshire out at sea.world war one, world war, wiltshire, troop ship, mmm

The photographer, Ann Gervasoni, was in Frommelles for the reburial ceremony for 5 previously unidentified Australian soldiers. "AFTER almost 94 years, Ballarat soldier Private Frederick Rawlings, and a long-standing family mystery, can finally be laid to rest. Private Rawlings was one of 5533 Australian soldiers killed in the bloodiest conflict in Australian history, the World War I Battle of Fromelles, France. He was one of 250 men buried in a mass grave at Pheasant Wood after the battle of July 19 and 20 in 1916. In the past two years, a joint Australian and British project has aimed to positively identify the remains of those soldiers buried at the site. This week, the Federal Government announced Private Rawlings was one of 75 men who had been identified by name. Also on the list were Corporal Leslie Hart, born in Clunes, and Lance Corporal Allan Bennett, born in Ballarat, both of whom joined the army in Western Australia. All but one of the 75 soldiers have now been re-buried, with full military honours, at a specially constructed cemetery near the battle site. Private Rawlings' grand-niece, Maureen Holding, of Mannibadar, got a call to confirm the news on Tuesday night. 'It's just quite incredible after all these years and huge loss of life, they've actually identified him,' Mrs Holding said yesterday. Last year, Mrs Holding and her brother, Leo Rawlings, gave DNA samples to the Australian Army to help with the identification process. But until seeing a newspaper article more than 20 years ago, they did not know Private Rawlings or his younger brother, Corporal Sydney Rawlings, had even been in the war. On Anzac Day 1988, The Courier published a photo of Cpl Sydney Rawlings and excerpts from a letter from an army chaplain that informed Ballarat family members of Cpl Rawlings' death in Northern France in 1918. 'About two years later, my husband, Malcolm, found in a tin of rusty nails and shoe buckles belonging to my late dad, a set of war medals,' Mrs Holding said. They were inscribed with Sydney's Rawlings' name, and checks of family records and The Courier story confirmed the connection. In 1991, this newspaper published a list of soldiers who had memorial trees in Ballarat's Avenue of Honour. Next to Sydney's name was that of Frederick Rawlings.(http://www.thecourier.com.au/story/543125/remains-of-ballarat-soldier-killed-in-france-during-wwi-identified/, accessed 16/04/2014.)A number of colour digital images showing the grave of Frederick Rawlings of Ballarat in the Pheasant Wood Cemetery, Frommelles, France.world war one, fromelles, pheasant wood, frederick rawlings, allan bennett, leslie hart

In the Sunshine Advocate of 21/03/1925 it is reported that Wunderlich Ltd decided to establish works in Sunshine for the manufacture of terra cotta and faience for the facing of city buildings. The product was intended to imitate granite, which would give a brighter appearance to concrete walls. A stone surface finish to the terra cotta could be achieved by applying a variety of colour combinations of glazes with a special 'spackle' gun. A building that is still standing and has the imitation granite finish terra cotta is the Nicholas Building at 21 - 47 Swanston Street, Melbourne. The Nicholas Building was designed by Harry Norris for Alfred Nicholas (Aspro fame), and was built during 1925 - 1926. The building is classified by the National Trust (B4079) and has the Victorian Heritage Register (H2119). During my employment in the factory from 1964 to 1969 the tiles were generally faced with single colour glazes. For some small jobs a light coloured mottled finish was achieved by spattering a white glaze over a cream coloured background or vice versa. There were no imitation granite jobs done, probably because of changing attitudes to the intended appearance of buildings. The green coloured tile in our collection is an unfinished (untrimmed) retain tile typical of the green coloured tiles that were made for the two stages of the Commonwealth Centre Building (colloquially known as the Green Latrine), that was once located on the corner of Spring and Victoria Streets in Melbourne. Similar coloured tiles were also used on some shop fronts. The Commonwealth Centre Building no longer exists, however the Century Building at 125 - 133 Swanston Street, Melbourne is covered with single coloured tiles (white). The Century Building was built in 1939, with the architect being Marcus Barlow. The Building is classified by the National Trust (B4045). Our tile along with several others were headed for dumping among the asbestos waste at the rear of the two Wunderlich factories (Circa 1968). With permission from the Factory Superintendent of the Terra Cotta factory they were saved and taken home. Several are still in use as pavers around a barbecue in Melton from where our tile was obtained. It should be noted that the Wunderlich Architectural Terra Cotta factory in Sunshine did not manufacture terra cotta roofing tiles, as reported in the Brimbank City Council Post-contact Heritage Study HO 073 former Wunderlich now West End Market. Wunderlich terra cotta roofing tiles were manufactured at their factory in Mitcham Road, Vermont. Document HO 073 contains at least 3 errors. Other References: (1). http://nla.gov.au/nla.news-article74726224. (2). Armstrong, J. 'Investigating the historic and current use, manufacture and conservation of architectural terra cotta and faience USA & UK'. This tile is an example of the type of facing that was applied to city buildings for over 40 years from the mid 1920's. As building techniques changed the need for this type of facing diminished, and so the factory was eventually sold and demolished. A free standing tall chimney stack which serviced two of the kilns was a significant feature of the North Sunshine skyline. A part of the history of Sunshine disappeared with the demolition of the factory and the chimney stack. Only the façade of the finishing section of the factory where tiles were trimmed and stored remains. Off-white/beige architectural terra cotta tile with green coloured vitreous glaze on the face of tile. The rear of tile is ribbed. wunderlich limited, terra cotta, architectural, commonwealth centre, spring street, sunshine, mcintyre, victoria street, faience, faence, imitation granite, nicholas building, century building

The tenant lived at the mercy of the resident landlord. Home was a one-roomed house, a chimney of wicker work plastered over with mud or just a hole in the roof. The walls might consist of mud too, or sods of grass. Any windows, were rarely glazed and would be open to the elements all year round. The Pig, if any, was kept in the house, the most valuable possession. Sold for cash at local market. The main items in the house were a potato pot and water bucket. As well as mother, father and children, there could well be grandparents all living in the same cramped conditions. The family would sleep on rushes or straw lain on the floor. Most tenants were tenants 'at will ', which meant they could be evicted at the 'will' of the landlord. Some had a lease for the life of the father and the eldest son, and this meant they were relatively safe from eviction as long as they could pay their rent. There was a tradition of passing on a portion of your land from father to each of the sons, who would build a small dwelling, and in turn pass a portion onto their own sons. This cycle of subdivision meant that many families were surviving on a tiny plot of land from which to derive a crop of potatoes for the year. Women worked hard in this environment, rearing children, cooking, cleaning, tending to any animals such a pigs or chicken and when needed, helping in the potato field. Life was dictated by the annual rent due to the landlord. Other typical expenses could be the Hearth Tax (actually charged by the number of fire places in a house) Turf, Hay (for any farm animals) and tithes. A tax known as the tithes were calculated at one tenth the value of everything saleable. Tithes were a bitter issue. They were for the support of the Church of Ireland, Protestant Bishops and Ministers, and a cess tax for the construction and maintenance of Protestant Church buildings. The problem being that the vast majority of those paying the Tax were Catholic and paying to support something that was contrary to their beliefs. Potatoes were the staple diet from September through to the end of Spring of the following year. But the summer months were months of hunger and hardship as they waited for the following harvest to come in Autumn. During these months people had to resort to eating anything they could find; turnips, cabbage, even wild grass, nettles, wild berries and dandelions. Those who lived close to the sea would collect seaweed and use it spread on their land as a form of manure. The dependency of so much of the population on the Potato as their sole source of food was to prove disastrous during the Famine years. [http://www.youririshroots.com/irishhistory/tenant.php, accessed 14 December 2013]A woman spins wools, while another cards fleece in preparation for spinning. I man smokes a pipe by an open fireplace, while a cow takes shelter in the cabin for warmth. ballarat irish, cabin, spinning, wool, cow

Lin ONUS (1948-1996) Language: Wiradjuri / Yorta Yorta Lin Onus played a pivotal role in the recognition of Aboriginal art as an expression of a contemporary and dynamic living culture. Prior to his premature death at just 47 years of age he was a prominent, strident, yet non-confrontational agent in renegotiating the history of colonial and Aboriginal Australia. His father, Bill Onus, was the founder of the Aboriginal Advancement League in Victoria and a prominent maker of artefacts in Melbourne. As a young Koori growing up, Lin lived in a cultural environment that included exposure to visiting Aboriginal artists, including Albert Namatjira. He began his artistic life assisting his father in decorating artifacts, went on to develop skills working with metal and painting with air brush as a panel beater; and by 1974 he was painting watercolors and photo-realist landscapes. In the 1970's he completed a set of paintings on the first Aboriginal guerrilla fighter Mosquito, which holds pride of place on the walls of the Advancement League in Melbourne, to this day. Lin Onus was a largely self-taught artist. Particularly important in his development was his visits to Garmedi (Arnhem Land) starting in 1986. Jack Wunuwun, the Yolngu artist, introduced him into the Murrungun-Djinang clan and gave him permission to use some of traditional images in his paintings. His cultural education on the Aboriginal side was also provided by visits to Cummeragunja with his father, and stories told by his uncle Aaron Briggs, known as 'the old man of the forest' who gave him his Koori name - Burrinja, meaning 'star'. They would sit on the banks of the Murray River within view of the Barmah Forest, Lin's spiritual home, the subject of many of his later paintings and his final resting place. Lin's father had been of the Yorta Yorta people from the Barmah Forest country, and Lin also used images from this area in his paintings. The images in his works include haunting photorealist portrayals of the Barmah red gum forests of his father's ancestral country, and the use of rarrk cross-hatching-based based painting style that he learned (and was given permission to use when in Arnhemland). His painting Barmah Forest won Canberra's national Aboriginal Heritage Award in 1994. (http://www.cooeeart.com.au/aboriginal_artist/lin_onus/A, accessed 18 May 2015) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition silkscreen.Signed 'Onus' lower right (posthumously by Tiriki Onus) Edition 68/80art, artwork, lin onus, onus, printmaking, screenprint, aboriginal, dreaming, frogs, available

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This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. WARRNAMBOOL'S MECHANICS' INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. Ethel Mary Turner Ethel Turner (25th January 1872 – 8th April 1958) was an English-born Australian novelist and children's literature writer. She was born Ethel Mary Burwell in Doncaster in England. Her father died when she was two, leaving her mother Sarah Jane Burwell with two daughters (Ethel and Lillian). A year later, Ethel’s mother married Henry Turner, who was 20 years older and had six children of his own. Sarah Jane and Henry had a daughter, Rose. Henry Turner died suddenly, leaving Sarah Jane with nine children and little income. In 1879 Sarah Jane moved to Australia with Ethel, Lillian, and Rose; within the next two years she married Charles Cope and gave birth to his son Rex. Ethel Turner was educated at Paddington, New South Wales Public School and Sydney Girls High School she was one of the school's original thirty-seven pupils. Ethel started her writing career at eighteen, founding the Parthenon, a journal for young people, with her sister Lillian. Writing as “Dame Durden”, she wrote children's columns for the Illustrated Sydney News and later for the Australian Town and Country Journal. In 1891 the family moved to Woodlands, a large house in Lindfield, now Killara, which was then out in the country. Woodlands still stands today in Werona Avenue and is where she wrote “Seven Little Australians”. In 1896 Ethel married Herbert Curlewis, a lawyer. After living in Mosman, they built their own house overlooking Middle Harbour. The house, Avenel, is where Ethel Turner spent the rest of her years. She survived her daughter Jean Curlewis, who died of tuberculosis, by 28 years. Jean was also a writer of children's books, although not as popular as her mother. Jean's works include “The Ship That Never Set Sail”, “Drowning Maze”, and “Beach Beyond (1923)”. Her son Adrian, was a Barrister, Captain in WW2 and a Changi and Thai-Burma Railway POW and later a Judge. Ethel Turner died at Mosman on 8 April 1958 at 85. She is buried at Macquarie Park Her best-known work is her first novel, Seven Little Australians (1894), which is widely considered a classic of Australian children's literature and was an instant hit both in Australia and overseas. It is about a family of seven children growing up in Australia. The book, together with its sequels “The Family at Misrule” (1895) and “Little Mother Meg” (1902) that deal with the lives of the Wolcott family, particularly with its seven mischievous children in 1880s Australia. A companion to "Seven Little Australians", “Judy and Punch” was published in 1928. Like her stepfather, the character of Captain Woollcott was a widower with six children. The book was made into a feature film in Australia in 1939 and a UK television series in 1953. A 10-episode television series was made in 1973 by the Australian Broadcasting Corporation. Turner published a number of other books for children, short stories and poems. “Three Little Maids” (1900) is a strongly autobiographical novel about her family's migration from England to Sydney, Australia. Turner wrote more than forty novels. Some were about the mischievous Wolcott’s. Others were serialized, like her books on "the Cub", and some were stand-alone. The children she wrote about were all adventurous and independent. They frequently got themselves into sticky situations and got themselves out of them with very little to no adult help. Turner was awarded a number of prestigious literary awards and could be considered one of Australia's best-loved authors. She is listed on The Australian Women's Register. The Ethel Turner Prize for Young People's Literature is given annually under the auspices of the New South Wales Premier's Literary Awards. Ref Ethel Mary Turner, Biography: https://en.wikipedia.org/wiki/Ethel_Turner The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. St Tom and The Dragon Author: Ethel Turner Publisher: Ward Lock & Co Date: 1918Label on spine cover with typed text PAT FIC TUR Pastedown front endpaper has sticker from Warrnambool Children’s Library covered by a sticker from Corangamite Regional Library Service Flyleaf has a stamp from Warrnambool Mechanics Institute warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, st tom and the dragon, ethel turner

This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. WARRNAMBOOL'S MECHANICS' INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. Ethel Mary Turner Ethel Turner (25th January 1872 – 8th April 1958) was an English-born Australian novelist and children's literature writer. She was born Ethel Mary Burwell in Doncaster in England. Her father died when she was two, leaving her mother Sarah Jane Burwell with two daughters (Ethel and Lillian). A year later, Ethel’s mother married Henry Turner, who was 20 years older and had six children of his own. Sarah Jane and Henry had a daughter, Rose. Henry Turner died suddenly, leaving Sarah Jane with nine children and little income. In 1879 Sarah Jane moved to Australia with Ethel, Lillian, and Rose; within the next two years she married Charles Cope and gave birth to his son Rex. Ethel Turner was educated at Paddington, New South Wales Public School and Sydney Girls High School she was one of the school's original thirty-seven pupils. Ethel started her writing career at eighteen, founding the Parthenon, a journal for young people, with her sister Lillian. Writing as “Dame Durden”, she wrote children's columns for the Illustrated Sydney News and later for the Australian Town and Country Journal. In 1891 the family moved to Woodlands, a large house in Lindfield, now Killara, which was then out in the country. Woodlands still stands today in Werona Avenue and is where she wrote “Seven Little Australians”. In 1896 Ethel married Herbert Curlewis, a lawyer. After living in Mosman, they built their own house overlooking Middle Harbour. The house, Avenel, is where Ethel Turner spent the rest of her years. She survived her daughter Jean Curlewis, who died of tuberculosis, by 28 years. Jean was also a writer of children's books, although not as popular as her mother. Jean's works include “The Ship That Never Set Sail”, “Drowning Maze”, and “Beach Beyond (1923)”. Her son Adrian, was a Barrister, Captain in WW2 and a Changi and Thai-Burma Railway POW and later a Judge. Ethel Turner died at Mosman on 8 April 1958 at 85. She is buried at Macquarie Park Her best-known work is her first novel, Seven Little Australians (1894), which is widely considered a classic of Australian children's literature and was an instant hit both in Australia and overseas. It is about a family of seven children growing up in Australia. The book, together with its sequels “The Family at Misrule” (1895) and “Little Mother Meg” (1902) that deal with the lives of the Wolcott family, particularly with its seven mischievous children in 1880s Australia. A companion to "Seven Little Australians", “Judy and Punch” was published in 1928. Like her stepfather, the character of Captain Woollcott was a widower with six children. The book was made into a feature film in Australia in 1939 and a UK television series in 1953. A 10-episode television series was made in 1973 by the Australian Broadcasting Corporation. Turner published a number of other books for children, short stories and poems. “Three Little Maids” (1900) is a strongly autobiographical novel about her family's migration from England to Sydney, Australia. Turner wrote more than forty novels. Some were about the mischievous Wolcott’s. Others were serialized, like her books on "the Cub", and some were stand-alone. The children she wrote about were all adventurous and independent. They frequently got themselves into sticky situations and got themselves out of them with very little to no adult help. Turner was awarded a number of prestigious literary awards and could be considered one of Australia's best-loved authors. She is listed on The Australian Women's Register. The Ethel Turner Prize for Young People's Literature is given annually under the auspices of the New South Wales Premier's Literary Awards. Ref Ethel Mary Turner, Biography: https://en.wikipedia.org/wiki/Ethel_Turner The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. Fugitives From Fortune Author: Ethel Turner Publisher: Ward, Lock & Co Date: 1909Label on spine cover with typed text PAT FIC TUR Pastedown front endpaper has sticker from Warrnambool Children’s Library covered by a sticker from Corangamite Regional Library Service Flyleaf has a stamp from Warrnambool Mechanics Institute warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, fugitives from fortune, ethel turner

This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. WARRNAMBOOL'S MECHANICS' INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. Ethel Mary Turner Ethel Turner (25th January 1872 – 8th April 1958) was an English-born Australian novelist and children's literature writer. She was born Ethel Mary Burwell in Doncaster in England. Her father died when she was two, leaving her mother Sarah Jane Burwell with two daughters (Ethel and Lillian). A year later, Ethel’s mother married Henry Turner, who was 20 years older and had six children of his own. Sarah Jane and Henry had a daughter, Rose. Henry Turner died suddenly, leaving Sarah Jane with nine children and little income. In 1879 Sarah Jane moved to Australia with Ethel, Lillian, and Rose; within the next two years she married Charles Cope and gave birth to his son Rex. Ethel Turner was educated at Paddington, New South Wales Public School and Sydney Girls High School she was one of the school's original thirty-seven pupils. Ethel started her writing career at eighteen, founding the Parthenon, a journal for young people, with her sister Lillian. Writing as “Dame Durden”, she wrote children's columns for the Illustrated Sydney News and later for the Australian Town and Country Journal. In 1891 the family moved to Woodlands, a large house in Lindfield, now Killara, which was then out in the country. Woodlands still stands today in Werona Avenue and is where she wrote “Seven Little Australians”. In 1896 Ethel married Herbert Curlewis, a lawyer. After living in Mosman, they built their own house overlooking Middle Harbour. The house, Avenel, is where Ethel Turner spent the rest of her years. She survived her daughter Jean Curlewis, who died of tuberculosis, by 28 years. Jean was also a writer of children's books, although not as popular as her mother. Jean's works include “The Ship That Never Set Sail”, “Drowning Maze”, and “Beach Beyond (1923)”. Her son Adrian, was a Barrister, Captain in WW2 and a Changi and Thai-Burma Railway POW and later a Judge. Ethel Turner died at Mosman on 8 April 1958 at 85. She is buried at Macquarie Park Her best-known work is her first novel, Seven Little Australians (1894), which is widely considered a classic of Australian children's literature and was an instant hit both in Australia and overseas. It is about a family of seven children growing up in Australia. The book, together with its sequels “The Family at Misrule” (1895) and “Little Mother Meg” (1902) that deal with the lives of the Wolcott family, particularly with its seven mischievous children in 1880s Australia. A companion to "Seven Little Australians", “Judy and Punch” was published in 1928. Like her stepfather, the character of Captain Woollcott was a widower with six children. The book was made into a feature film in Australia in 1939 and a UK television series in 1953. A 10-episode television series was made in 1973 by the Australian Broadcasting Corporation. Turner published a number of other books for children, short stories and poems. “Three Little Maids” (1900) is a strongly autobiographical novel about her family's migration from England to Sydney, Australia. Turner wrote more than forty novels. Some were about the mischievous Wolcott’s. Others were serialized, like her books on "the Cub", and some were stand-alone. The children she wrote about were all adventurous and independent. They frequently got themselves into sticky situations and got themselves out of them with very little to no adult help. Turner was awarded a number of prestigious literary awards and could be considered one of Australia's best-loved authors. She is listed on The Australian Women's Register. The Ethel Turner Prize for Young People's Literature is given annually under the auspices of the New South Wales Premier's Literary Awards. Ref Ethel Mary Turner, Biography: https://en.wikipedia.org/wiki/Ethel_Turner The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. Fair Ines Author: Ethel Turner Publisher: Hodder & Stoughton Date: 1910Label on spine cover with typed text PAT FIC TUR Pastedown front endpaper has sticker from Warrnambool Children’s Library covered by a sticker from Corangamite Regional Library Service Flyleaf has a stamp from Warrnambool Mechanics Institute warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, ethel turner, fair ines

This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. WARRNAMBOOL'S MECHANICS' INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. Ethel Mary Turner Ethel Turner (25th January 1872 – 8th April 1958) was an English-born Australian novelist and children's literature writer. She was born Ethel Mary Burwell in Doncaster in England. Her father died when she was two, leaving her mother Sarah Jane Burwell with two daughters (Ethel and Lillian). A year later, Ethel’s mother married Henry Turner, who was 20 years older and had six children of his own. Sarah Jane and Henry had a daughter, Rose. Henry Turner died suddenly, leaving Sarah Jane with nine children and little income. In 1879 Sarah Jane moved to Australia with Ethel, Lillian, and Rose; within the next two years she married Charles Cope and gave birth to his son Rex. Ethel Turner was educated at Paddington, New South Wales Public School and Sydney Girls High School she was one of the school's original thirty-seven pupils. Ethel started her writing career at eighteen, founding the Parthenon, a journal for young people, with her sister Lillian. Writing as “Dame Durden”, she wrote children's columns for the Illustrated Sydney News and later for the Australian Town and Country Journal. In 1891 the family moved to Woodlands, a large house in Lindfield, now Killara, which was then out in the country. Woodlands still stands today in Werona Avenue and is where she wrote “Seven Little Australians”. In 1896 Ethel married Herbert Curlewis, a lawyer. After living in Mosman, they built their own house overlooking Middle Harbour. The house, Avenel, is where Ethel Turner spent the rest of her years. She survived her daughter Jean Curlewis, who died of tuberculosis, by 28 years. Jean was also a writer of children's books, although not as popular as her mother. Jean's works include “The Ship That Never Set Sail”, “Drowning Maze”, and “Beach Beyond (1923)”. Her son Adrian, was a Barrister, Captain in WW2 and a Changi and Thai-Burma Railway POW and later a Judge. Ethel Turner died at Mosman on 8 April 1958 at 85. She is buried at Macquarie Park Her best-known work is her first novel, Seven Little Australians (1894), which is widely considered a classic of Australian children's literature and was an instant hit both in Australia and overseas. It is about a family of seven children growing up in Australia. The book, together with its sequels “The Family at Misrule” (1895) and “Little Mother Meg” (1902) that deal with the lives of the Wolcott family, particularly with its seven mischievous children in 1880s Australia. A companion to "Seven Little Australians", “Judy and Punch” was published in 1928. Like her stepfather, the character of Captain Woollcott was a widower with six children. The book was made into a feature film in Australia in 1939 and a UK television series in 1953. A 10-episode television series was made in 1973 by the Australian Broadcasting Corporation. Turner published a number of other books for children, short stories and poems. “Three Little Maids” (1900) is a strongly autobiographical novel about her family's migration from England to Sydney, Australia. Turner wrote more than forty novels. Some were about the mischievous Wolcott’s. Others were serialized, like her books on "the Cub", and some were stand-alone. The children she wrote about were all adventurous and independent. They frequently got themselves into sticky situations and got themselves out of them with very little to no adult help. Turner was awarded a number of prestigious literary awards and could be considered one of Australia's best-loved authors. She is listed on The Australian Women's Register. The Ethel Turner Prize for Young People's Literature is given annually under the auspices of the New South Wales Premier's Literary Awards. Ref Ethel Mary Turner, Biography: https://en.wikipedia.org/wiki/Ethel_Turner The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. King Anne Author: Ethel Turner Publisher: Ward Lock & Co Date: 1921Label on spine cover with typed text PAT FIC TUR Pastedown front endpaper has sticker from Warrnambool Children’s Library covered by a sticker from Corangamite Regional Library Service Insider front loose endpaper has a stamp from Warrnambool Mechanics Institutewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, king anne, ethel turner

Naturally, we tend to take commonplace objects for granted, because they have always been there. Yet how many of you actually have thought “hey, where do forks come from?” Well, it takes one trip to China and a 3-year-old laughing at your face because of your desperate attempt to eat with chopsticks to finally appreciate something so ordinary such as a fork. So, where do forks come from? The early history of the fork is obscure. As a kitchen and dining utensil, it is believed to have originated in the Roman Empire, as proved by archaeological evidence. The personal table fork most likely originated in the Eastern Roman (or Byzantine) Empire. Its use spread to what is now the Middle East during the first millennium AD and then spread into Southern Europe during the second millennium. It did not become common in northern Europe until the 18th century and was not common in North America until the 19th century. Carving fork from 1640. Source: Wikipedia/Public Domain Carving Fork from 1640. Source: Wikipedia/Public Domain Some of the earliest known uses of forks with food occurred in Ancient Egypt, where large forks were used as cooking utensils. Bone forks had been found on the burial site of the Bronze Age Qijia culture (2400–1900 BC) as well as later Chinese dynasties’ tombs.The Ancient Greeks used the fork as a serving utensil. Read also: Steven Spielberg to Remake the Classic Musical ‘West Side Story’ In the Roman Empire, bronze and silver forks were used. The use varied according to local customs, social class and the nature of food, but forks of the earlier periods were mostly used as cooking and serving utensils. The personal table fork was most likely invented in the Eastern Roman (Byzantine) Empire, where they were in everyday use by the 4th century (its origin may even go back to Ancient Greece, before the Roman period). Records show that by the 9th century a similar utensil known as a barjyn was in limited use in Persia within some elite circles. By the 10th century, the table fork was in common use throughout the Middle East. Bronze forks made in Persia during the 8th or 9th century.Source: Wikipedia/Public Domain Bronze forks made in Persia during the 8th or 9th century.Source: Wikipedia/Public Domain The first recorded introduction of the fork to Western Europe, as recorded by the theologian and Cardinal Peter Damian, was by Theophano Sklereina the Byzantine wife of Holy Roman Emperor Otto II, who nonchalantly wielded one at an Imperial banquet in 972, astonishing her Western hosts.By the 11th century, the table fork had become increasingly prevalent in the Italian peninsula. It gained a following in Italy before any other Western European region because of historical ties with Byzantium and continued to get popularity due to the increasing presence of pasta in the Italian diet. At first, pasta was consumed using a long wooden spike, but this eventually evolved into three spikes, design better suited to gathering the noodles. In Italy, it became commonplace by the 14th century and was almost universally used by the merchant and upper classes by 1600. It was proper for a guest to arrive with his fork and spoon enclosed in a box called a cadena; this usage was introduced to the French court with Catherine de’ Medici’s entourage. In Portugal, forks were first used at the time of Infanta Beatrice, Duchess of Viseu, King Manuel I of Portugal’s mother around 1450. However, forks were not commonly used in Western Europe until the 16th century when they became part of Italian etiquette. The utensil had also gained some currency in Spain by this time, and its use gradually spread to France. Nevertheless, most of Europe did not adopt the use of the fork until the 18th century. Read also: The 8 Most Famous ‘Functioning Alcoholics’ in History Long after the personal table fork had become commonplace in France, at the supper celebrating the marriage of the Duc de Chartres to Louis XIV’s natural daughter in 1692, the seating was described in the court memoirs of Saint-Simon: “King James having his Queen on his right hand and the King on his left, and each with their cadenas.” In Perrault’s contemporaneous fairy tale of La Belle au bois dormant (1697), each of the fairies invited for the christening is presented with a splendid “fork holder”. The fork’s adoption in northern Europe was slower. Its use was first described in English by Thomas Coryat in a volume of writings on his Italian travels (1611), but for many years it was viewed as an unmanly Italian affectation. Some writers of the Roman Catholic Church expressly disapproved of its use, St. Peter Damian seeing it as “excessive delicacy.” It was not until the 18th century that the fork became commonly used in Great Britain, although some sources say that forks were common in France, England, and Sweden already by the early 17th century. Spaghetti fork By Lady alys - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=6414948 Spaghetti Fork By Lady alys – Own work, CC BY-SA 3.0, The fork did not become popular in North America until near the time of the American Revolution. The curved fork used in most parts of the world today was developed in Germany in the mid 18th century while the standard four-tine design became current in the early 19th century. The fork was important in Germany because they believed that eating with the fingers was rude and disrespectful. The fork led to family dinners and sit-down meals, which are important features of German culture. https://www.thevintagenews.com/2016/08/31/priority-fork-came-italy-european-country-pasta/?chrome=1Serving fork, two prongs, with a shaped wooden handle. Badly rusted.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, food, meat, carving

This Post Office Receiving Pillar was restored in 1980 and is now a fully operational Australia Post mailbox. In early August 1980 Prime Minister Mr. Fraser posted Warrnambool’s first commemorative envelope into this restored Post Office Receiving Pillar at Flagstaff Hill Maritime Village. The special limited edition envelopes are numbered 1 – 7000. When posted, the envelopes would have the Flagstaff Hill Logo and Flagstaff Hill Maritime Village’s own postmark of a ship’s steering wheel surrounding a lighthouse and a sailing ship, and were dated August 3 on the First Day Cover. Amongst Flagstaff Hill’s collection is that very first letter posted by Prime Minister Fraser. HISTORY OF POST OFFICE RECEIVING PILLARS In 1851 ‘pillar boxes’ were installed at roadside locations in the island of Jersey, England; they had already been successful in several European countries. The use of new prepaid, adhesive postage stamps as well as the roadside pillar boxes meant there was no need for the public to take a trip to the Post Office just to post a letter. By 1855 London had installed its first six Pillar Boxes. In 1856 the pillar boxes were first introduced in Sydney. These were circular with a crown on the dome, supported by leaves. Early Victoria Mail was originally collected by ‘letter carriers’, first appointed in Melbourne in 1841, equipped with leather bag and hand bell. He wore a red coat with brass buttons and a black top hat! In 1844 two wooden receiving boxes were erected in Melbourne. The first cast iron boxes were installed in South Melbourne (Emerald Hill) and were still in service until 1967. They were a fluted circular design and made in England. In the early 1860’s the ‘low door round’ design posting box was introduced, being circular and surrounded by a crown, with two broad embossed bands around its circumference. The clearance door was in front of the box and low down. These were made in Australia. In the early 1870’s square boxes with a tapering top were being used. These too were made in Australia by different manufacturers with slight variations on style such as the orientation and number of slots. Next came the circular boxes again, similar to the ‘low door round’ but with the clearance door extending to just below the posting slot, often referred to as ‘high door round’. These boxes did not have embossed bands. In 1887 small cast iron boxes were introduced, attached to posts and poles and called ‘lamp post receivers’. Around 1930 a ‘London’ model was used in Victoria. It was copied from the flat-domed type in London but made in Tasmania. [References: Flagstaff Hill Maritime Village records, The Warrnambool Standard, August 1st, 1980, “Stamps.Au” http://www.stampsau.com, 4th April 2011 (Extracted from “Australian Street Posting Boxes” by Ken Sparks – out of print)] Post Office Receiving Pillar, or letterbox.1885 “High Door Round” design. Tall cast iron cylinder with decorative dome cap with crown on top. Side has a slot and a hinged door with handle shaped as a fist. Painted red with gold trim. “POST OFFICE / RECEIVING PILLAR” lettering cast into cylinder. Restored in 1980 and once again operating as an Australia Post mailbox. Commemorative plague on pillar.“POST OFFICE / RECEIVING PILLAR” lettering cast into cylinder. Flagstaff Hill Maritime Museum – Port of Warrnambool. This letter receiver was officially commissioned on 3rd August 1980 by the Prime Minister of Australia, the Right Honourable Malcolm Fraser M.P. on completion of 25 years’ service as the Federal Minister for Wannon.”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, post office receiving pillar, letterbox, mailbox, australia post

AUSTRALIAN LANDSCAPE ART. A FINE COLLECTION. The late Mr. Walter Withers was one of the little band of landscapists that Included Streeton Condor, who pioneered the "plein-airiste" movement In Victoria thirty years ago. Mr. Withers had been trained in Paris, but practically all his artistic life was spent in Australia, and examples from his easel are to be found in all the leading Australian galleries. He belonged to a brilliant little coterie of men whose works have since been eagerly sought for at ever-rising prices. And now collectors have an opportunity of acquiring examples of his art for a thoroughly characteristic collection of his work, both in oils and in water-color, will be open to-day In the fine art gallery at Anthony Horderns', in George Street. The collection includes 28 paintings in oil by the late Mr. Walter Withers, and 32 of his water-color drawings, while smaller collections by his daughter, Miss Margery Withers, and by his son, Mr. Meynell Withers, are also added. Among the landscapes in oils by the deceased artist may be seen examples of many moods, and also many phases of his artistic development. At different times he was a realist, a romanticist, an idealist. In his fine picture "The Easter Moon" the emotional appeal to the homing instinct is direct and compelling. This delightful work, low in tone and charming in its feeling of repose, suggests the sentiment of Gray's "Elegy." Entirely different in range, intention, and feeling, are two brilliantly-painted pictures entitled "The Young Gardener," and "The Dividing Fence," Mr. Withers here displays an unusual gift for placing effective notes in an admirably harmonised color scheme. "Sunlight in the Forest" is a pastoral poem in color. Most of these pictures were painted in the Eltham or Warrandyte country, while the "marines" are impressions at Phillip Island or on the shores of the bay. The artist was well equipped with technical knowledge and experience. His pictures are full of air and sunlight, and his realisation of cloud-forms is most convincing. The watercolor drawings which he did in the full maturity of his powers have, a softness, richness, and depth of color quite unusual. His son, Meynell Withers, shows a collection of landscapes of striking merit, recalllng his father's handling of color and selective taste In composition. Miss Margory Withers shows a charming group of watercolor portraits, and also some meritorious landscapes. The pictures have been hung with fine artistic discrimination in the grouping of the subjects, and so skilfully that in each group an essential harmony of tone has been preserved. The exhibition will be open to the public from to-day. AUSTRALIAN LANDSCAPE ART. (1918, November 18). The Daily Telegraph (Sydney, NSW : 1883 - 1930), p. 4. Retrieved August 22, 2023, from http://nla.gov.au/nla.news-article239575164Journal inscribed: "Mrs Withers 463 Collins St. West Melbourne"art exhibition, art review, artist, john withers collection, walter herbert withers

On 23 April, the 3rd Battalion, Royal Australian Regiment (3 RAR), under the command of Lieutenant Colonel Bruce Ferguson, and the 2nd Battalion, Princess Patricia's Canadian Light Infantry, occupied prominent hills on either side of the seven-kilometre-wide valley, where a small tributary joined the Kapyong River. Also forward were headquarters units, tanks and artillery. The 1st Battalion, Middlesex Regiment, were to the rear. Early in the evening, retreating South Koreans streamed past the Commonwealth position, with Chinese forces closely intermingled. Soon afterwards a platoon of American tanks supporting 3 RAR was overrun. The Kapyong valley was too large an area to defend with the forces available, and the brigade was spread very thinly. Throughout the night the Chinese repeatedly pressed the Australian positions, attacking in waves over their own dead and wounded. At dawn, A Company, under the command of Major Bernard "Ben" O'Dowd, found that the Chinese had infiltrated its position, but a counter-attack was able to eject them. Meanwhile B Company, which had spent the night on a hill near the riiver, discovered Chinese occupying some old bunkers on a small knoll. Hand-to-hand fighting ensued with grenades and bayonets. C Company, under the command of Captain Reg Saunders, was in position to reinforce both A and B Companies. "Major O'Dowd then directed the radio operator to contact anyone. The American 1st Marine Division answered but their operator refused to believe who our operator was speaking for. Major O'Dowd took the phone and demanded to speak to the commanding officer. The general in charge of the [Marine] division came on the phone and told O'Dowd we didn't exist as we had been wiped out the night before. Major O'Dowd said, 'I've got news for you, we are still here and we are staying here.'" Private Patrick Knowles, 3 RAR, on the morning of 24 April 1951 Fighting continued throughout the day with the Australians holding their positions, and the Chinese also engaging D Company. But late on 24 April, with their position now untenable, the Australians were forced into a fighting withdrawal down a ridge to the valley, where they rejoined the brigade. Their withdrawal was supported by New Zealand artillery from the 16th Field Regiment. Having found the Canadian position unassailable, the Chinese made no further attacks. By the afternoon of 25 April the road through to the Canadians had been cleared of Chinese and 2 PPCLI was relieved by US Army units. On Anzac Day 1951, the Australians rested after a long fight. Thirty-two Australians were killed and 53 were wounded for their part in stalling the Chinese advance and preventing Seoul from falling into enemy hands. Lieutenant Colonel Bruce Ferguson was awarded the Distinguished Service Order for his skilful leadership, and the Australian and Canadian battalions both received United States Presidential Distinguished Unit Citations for their part in the battle. http://www.awm.gov.au/exhibitions/korea/operations/kapyong/Print of painting of action in Kapyong Korea in wooden frame under glassDonated by Frank Arnold on behalf of Korean Veterans Association of Australia inc.korea, kapyong, 3rar