The donor's husband's grandmother was Bertha Michaelis who lived at 'Linden', St Kilda. She married David Jacob Baruch (known as Dalbert) in Hamburg on 9 November 1881. Bertha was born in Melbourne. The couple lived in Germany. Bertha returned to Melbourne with their two children, Ernest and May, after Dalbert died in 1893. May married Rabbi Jacob Danglow in 1909 and they had one son, Frank, who was the donor's husband.Cream satin princess line wedding dress with dark cream lace trim. Fastens centre front with 17 satin covered buttons. Nine extant bones are placed on the interior seams and darts. Three-quarter length fitted sleeves. Bodice backed with cream cotton. The back trained panels of the skirt have been cut to extend into a pleated swathe of satin that wraps around the hips to the centre front. A square padded bustle pad is attached to the interior back of the skirt. The hem of the skirt is decorated with kilted and swathed satin and lace. Label, interior waist tape, woven silk stamped in dark green: H. L. HEYNEMANN / Hannover / Seilwinderstr. 6a., Bose; In monogrammed ("HLH") circles either side: (Left) BAARZAHLUNGS SYSTEM; (Right) ERSTE PREISE. Stitched in thick cotton thread on interior waist tape: *9097wedding dress, germany, hannover, linden, st kilda, bertha michaelis, david jacob baruch

Blue cotton circular skirt with white cord design of men and women dancing around the hem. Fastens with a metal sip in left proper side seam.Label, printed red on cream cotton, centre back: Milton Harding / MELBOURNE / GUARANTEED TAILORED / & HAND FINISHED (image of skirt)skirt, 1950s, milton harding

Two piece ivory satin evening dress. Bodice (.1) is decorated with central panel of finely pleated chiffon and embellished with ready-made strips of beading and artificial pearls. Short puffed sleeves. Russet coloured velvet band applied to waist of bodice and finished with a metal rosette. Plain gored satin skirt (.2) with cream velvet binding around hem. Label, printed grey on cream cotton, centre back bodice waist: Bussell, Robson & Bussell / MELBOURNE.evening dress, bussell robson & bussell, 1890s

Three generations of women are represented in this apron. The linen used was woven by Olga's great-grandmother Efstathia in the late nineteenth century with flax grown on the island of Ithaca. Olga's mother Toula Raftopoulos added the whitework around 1908 at age 16 - the first piece of lacework she made on her own - and embroidered her initials on the front. Olga embellished the apron with coloured embroidery around 1950 at age 20. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Cream linen embroidered half apron. White lace along hem, along with white embroidered initials, "T.P." Coloured floral and abstract embroidery along sides in red, black, blue and green.olga black, toula raftopoulos, migration, embroidery

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing, where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool's superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.The shirt is sleeveless and in majority cream coloured. Around the hem, buttons and across the front of the shoulders is an appliqued floral design of Australian flowers and leaves inspired by the designs of artist Margaret Preston. The appliqued pattern continues around the bottom hem but not over the shoulders of the shirt.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

This style of jumper has a long history in the Royal Australian Navy, descending from the uniform style of the 19th century Royal Navy.Navy blue long sleeved, heavy-weight jumper with square rig collar. On left sleeve is an embroidered patch with the word "AUSTRALIA," underneath which is an anchor insignia and three downward pointing chevrons in gold embroidery thread. On right sleeve is an embroidered patch with the word "AUSTRALIA" on the upper shoulder, underneath which is an embroidered gold wheel on a semi-circle shaped patch. The jumper has a deep neckline, tied with a cotton navy tie. Accompanying collar (0036.2) attaches to the jumper via three navy blue plastic buttons at the back of the neck, and three navy blue plastic buttons running down both left and right interior neckline. The jumper has a zip on the left hand side which runs from the hem to the waist.On patches "AUSTRALIA" Interior label at back of neck reads "ADA/2001/[broad arrow]/NSN: 8405 66 132 2508/SIZE: 111 L/NO/NAME/WOOL/POLYESTER/DRY CLEAN ONLY"royal australian navy, uniform, marine, shirt, australian defence apparel, ratings

Turner Collection. Wedding dress of Margaret Jane Morrissey who married James Cahill 31 May 1868 at St. Patricks Church, Kilmore KHS holds original Marriage Certificate. Both early Kilmore families.Brown silk damask dress with cotton lining. Front button fastening. Jacquard striped, bustle back. Tearing at armhole, breakage at hem, frayed binding, frayed black braid trim detached in places, staining on collar, accretion on back, pest webbing. Very fragile.wedding, morrissey, cahill

Were used by Mr and Mrs Chapple Snr.Square white, fine cotton tablecloth with embroidered flowers and butterflies in the central square. This has a border of drawn thread work, creating a floral pattern all the way around. There are embroidered flowers in the subsequent section of the cloth, edged by a 9.5 cm. hemmed border. Square white or cream-coloured, fine cotton doily with an embroidered, appliqued and crocheted corners and edges.table linen., tablecloths

White,cotton, square-patterned hand towel with a spok edged hem on one end and a crocheted, flower pattern edge on the other.bath linen, hand towels, towels

2 fine cotton, white, rectangular doilies with embroidered white flowers with yellow centres and crocheted circles as the border around 3 sides of the doilies and hemmed with running stitch along the fourth side.doilies, table linen

White cotton baby's dress with net bodice insert and hem insert, with puffed sleeves.baby clothing, baby dresses

White cotton drawers with embroidered blue flowers, and lace around the hem. Have drawstring waist.drawers (underpants), underwear

Trousseau of Mrs. A. Mitchell (1877)White cotton drawers with handmade lace and insertion. Long legs with lace at the hem and side placquet openings with a tie at the waist and buttons on waist.drawers (underpants), underwear

The embroidery has been re-mounted and it is mid 19th century style of underskirt.White cotton underskirt with hand worked eyelet embroidery and medallions of Point Lace.Deep lace hem. Drawstring waist with placquet opening. Blue ribbon at waist and threaded through eyelets.underskirts, underwear

A lady's underwear combination in white cotton with broderie anglaise trim. Has pink embroidery on edges of sleeves and hem. Pink ribbon tie.combinations, underwear

Made from pillowslips - dating from 1880, from Mrs. D.H. Adamson.White cotton ladies combination with lace on neckline, sleeves and hem. combinations, underwear

Apron manufactured for military purposes. This item has significance as an example of uniform likely worn ny nurses and/or other medical staff, associated with Australian military campaigns. White fabric apron. One piece comprised of fabric square, white cotton bib, convex shaped side flaps, and square shaped lower apron with rounded corners. Fabric edges are folded over and hemmed with white thread in straight stitch, 5mm distance from edge of apron. Underside is overlocked with white thread. Top of bib is attached to a white fabric neck loop near bib corners by machine sewn white thread, with a criss-cross shape enclosed in a square; stitching is visible on front of apron. Apron has a white fabric tie on each side, attached in similar fashion to neck loop. Bib features red fabric red cross, stitched onto bib using zig zag stitch in red thread, edges of cross are raw fabric. Both ties and neck loop are hemmed with straight stitch and overlocked in white thread. military, war, apron, uniform, medical, hospital, women, female, outfit, nurse, fashion, textiles

The curtains are significant for their comparative rarity of survival, and at the same time, are highly representative of opulent colonial taste in interior decor in the boom period. The curtain panels are of high quality materials and in unusually good condition, indicating they were used in a window with relatively little sunlight shining on them. They can be imagined in a grand room with one or more matching dressed windows.7 curtain panels, all the same size, possibly to fit a 3-light bay window; or alternately, to fit 3 windows in the same room (or something else altogether, if this is not the original total number of panels). Fabric: silk-wool mix, sky blue ground with narrow vertical gold stripes. The fabric is a damask weave with a watered (moiré) finish; the large, woven motif depicts an urn filled with stylised flowers, leaves and curlicues; the spacing of the motifs is more 19thC than older styles using much the same motif. Each curtain drop is decorated with an applied band of narrow, colour-matched gimp braid around the sides and lower end. The bottom hems are weighted with what feels like lead shot. The curtains are lined with sturdy brown cotton. They are gathered at the top edge on drawstring tape; and hand-sewn with small metal hanging rings. Faded vertical bands of sun exposure are visible on most of the curtains, and one panel has a mended tear on a lower side. Otherwise they are in excellent, sound condition.interior decoration-19th century, curtains-19th century, colonial taste-victoria, gold boom melbourne

Victorian era child's nightgown collected in Europe by Nan Wagner in the 1970's.Victorian era child's nightgown collected in Europe.Victorian era child's nightgown is made of white cotton with a lace yolk and pin tucks at the hem. There is feather stitching at the lower edge of the yolk. The back placket has handmade buttonholes and pearl shell buttons completed with a rouleau drawstring at the neckline. childs clothing, victorian era, handmade, cotton

Northern District School of Nursing nurse's base uniform 1950s - 70sBlue cotton uniform worn beneath white apron. The uniform is open at the front with nine button holes in right placket for buttons and shanks to attach. There are corresponding buttonholes on left side for closing, a small pocket at top left and a pocket at RHS of skirt. There is a small buttonhole at back of neck and at lower hem of sleeves to attach collar and cuffs. The front has gathering from below the shoulders and the back top has an inverted pleat at centre.A white tag with 'Cotton' in red is attached inside back neck. There are other indecipherable words in black marking pen most likely owner's name. Laundry mark BAS 574.nurses uniform, northern district school of nursing

Northern District School of Nursing nurse's base uniform 1950s - 70s.Blue cotton uniform worn beneath white apron. The uniform is open at the front with eight button holes in right placket for buttons and shanks to attach. There are corresponding buttonholes on left side for closing, a small pocket at top left and a pocket at RHS of skirt. There is a small buttonhole at back of neck to attach white collar and white cuffs are attached to sleeves with two white buttons. The front has gathering from below the shoulders and the back top has an inverted pleat at centre. There is a white belt with two white buttons at one end attached with shanks and three sets of two button holes at the other end for closing. There is a white cap with frill and a line of blue braid above the frill indicating a third year trainee. There is a white apron with four buttonholes at the waist for closing and for the two shoulder straps.A white tag with Joy Lewis' in red is attached to all items. N.T.S in black marking pen is printed on back hem of neck. There are many black marking pen numbers and letters on the cap: NTS, BAS, 574, BH5, 530, 574 The apron has the name Lewis and figures 638 in black marking pen on inside of waist.nurses uniform, northern district school of nursing

This chemise is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. This chemise is machine sewn by Eliza Towns and she has added pintucks and broderie anglaise lace as a decorative element. A chemise was usually a sleeveless garment made of linen or cotton (so they could be easily washed) and its shape was much like a modern day nightgown. The name comes from the French word for "shirt" or "shift". Women wore chemises next to the skin (under the corset) to keep stains and odors away from the less washable corset and gown.This item is an example of the needlework skills of women in the mid to late 19th century - combining machine stitching with hand embroidery to personlise and embellish an item of clothing. It is also significant as an example of a practical solution to the difficulties of needing to regularly hand wash a bulky outer garment or gown in the Victorian era.A white cotton, short sleeved, knee length chemise. The fabric at the front is gathered on a yoke which is decorated with bands of five pintucks alternating with broderie anglaise lace and embroidered strips lined with pink ribbon. A different broderie anglaise design decorates the sleeve edges, neckline and center broderie anglaise strip. The back of the chemise is gathered on to the neckline. There are two bands of pintucks on each sleeve. The fabric around each armhole has been strengthened with another layer of cotton and a length of cotton has been added (from the left shoulder to the hem) to increase the width of chemise.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, great ocean road, south west victoria, victorian era, victorian era undergarments, chemise, victorian era chemise, undergarments, pintucks, victorian chemise, eliza towns, nhill, wimmera, home sewing, machine sewn, hand made

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Multicoloured cotton apron using a fabric design employing floral emblems and figurative detail. The apron is hemmed with a pleated fabric of a different colouraprons, protective clothing, handmade clothing, costume accessories, lisa sylvan

Doll maker Kammer and Reinhard bisque doll heads and bodies were designed by them, but most heads were manufactured by Simon & Halbig which is why heads bear both marks.Kammer and Reinhardt porcelain and cloth baby doll mould number 116A circa 1912. She has a porcelain head, forearms and lower legs and feet. The rest of her body is a stuffed material calico. Her legs are jointed at the knees. She is dressed in a long sleeved, extended christening like robe of cream broderie anglaise. The robe has decorative pintucking and lace on the bodice, sleeves, cuffs and skirt with a contrasting broderie anglaise hem. Part of a lace insert has become unstitched at the front. Underneath is a full petticoat of white cotton with pintucking and lace with a white broderie anglaise hem. Another full length petticoat of cream linen trimmed with lace is also underneath. She has a cream knitted singlet and knickers with cream knitted bootees. She has short blonde matted hair and wears a lace trimmed broderie anglaise bonnet with satin ribbons to match her robe.Initials K and R either side of a Star of David and the words Simon and Halbig below with the mould no 116/Atoys, dolls, porcelain

J D Kestner manufactured the Hilda doll from 1914. They ceased business in 1938.J D Krestner 'Hilda' baby doll with hard composite body, jointed arms and legs and porcelain head. She dates from post 1914. Her hair is short, blonde and 'frizzy'. She is wearing a cream pintucked linen dress trimmed with cream lace at the hem, sleeves and yoke. Underneath the dress is a cream cotton pintucked petticoat with a lace insert and lace trim at the hem. She has a yellow knitted singlet and knickers. On her head she is wearing a cream linen mob cap of the same material and trim as her dress.JDK 137 on back of headtoys, dolls, porcelain

Clothing. Women's black embossed silk skirt. Part of two piece set(bodice 11410.1). A shaped skirt with 2.5 cm cotton fabric waistband with three hanging loops attached. Centre back opening (20cm) fastened at waist with two metal hooks and eyes. Two metal eyes on waistband for attaching to the bodice. The front of the skirt has two vertical sections of appliquéd decorative beading (38 cm X 5 cm). The hem of the skirt is edged with black satin binding. The skirt is fully lined with brown cotton fabric. At centre back below the opening is an internal pocket (40 cm X 8 cm) of lining fabric. Historical Notes: This bodice and skirt belonged to Elizabeth Graydon (nee Richardson). Photograph of Elizabeth wearing this outfit (11410.3).

BHS CollectionSage coloured silk long sleeved dress. One piece full length dress. Full length side panels from shoulder to hem. Front of bodice extends below waist line to form two points on either side of front opening. Front opening is fastened with twelve fabric buttons (1-5cm) and button holes. Small standup collar(3cm) fastened at throat with hook and eye. Bodice shaped with two darts on either side of front opening. Small ruched pocket on LHS of bodice at waist level. Long narrow fitted sleeves shaped at the elbow. Decorative cuffs at wrists of ruched frilling (8cm) with triangularturned flap on top edge at back of cuff. Back of dress has four panels. The two centre panels extend below waist to to two points. The centre skirt panel is attached under the centre two panels and is gathered by five deep pleats to form a bustle effect extending to a long train. Front centre panel has horizontal gathering with ruched frills in centre, and at sides. Side panels overlap front centre panel. Hemline has pleated frill above the hem which is finished with cord. Skirt is lined with an open weave, brown cotton fabric. Bodice is lined with brown polished cotton. Hand stitched and machine stitched.costume, female, sage coloured silk dress

BHS CollectionWaist length dark green cotton bodice. Fabric has alternating stripes of pulled thread pattern and wider stripes of small dot pattern. Front opening with deep V to waist with lined lace insert extending from throat to waist. LHS of bodice fastened to lace insert with five press studs. Stand up collar of lined black lace (%cm) fastened with two hook and eyes. The bodice is made from five pieces. The two front sections have three knife pleats facing out and falling from the shoulder. The pleats are stitched down for twenty cms from the shoulders. On either side of the front opening is decorative embroidered black lace that extends across the shoulders to the back of the collar. There are two side panels from under the arm. The back section has three box pleats falling from the collars and tapering to the waist. The hem of the bodice is fastened with black cotton tape. Leg of mutton sleeves are trimmed with black embroidered brais at elbow and wrist. Lower sleeves have pintucks from elbow to wrist. The sleeves are lined with black cotton fabric. The back of the bodice is lined with black cotton fabric almost to the hem. A three cm piece of white and blue cotton tape is attached across the lower back with cotton ties at either end. The underarm panels are lined with brown cotton fabric and green satin inserted sections. The front has a separate lining with front opening and shaped with darts. Fastened with six buttons and buttonholes. Two shoulder pads on each side- one white piece under the shoulder and a green satin piece under the gathered section of each sleeve. Dark green full length skirt. Cotton fabric with alternating stripes of pulled thread pattern and wider stripe of small dot pattern. Skirt is made of three sections. Centre front panel widens slightly to hemline. Side panels continue around to join at centre back. Darts at both hips to shape sides. Panels widen to hemline. Inverted pleats at either side of back opening create fullness. Back opening(30cm) has insert of black satin joined to LHS of opening to enlarge the opening. Insert attached to waist band with two press studs. Two other press studs attach skirt to RHS of insert. Brown cotton waistband hand stitched to skirt. Ties attached to waistband at back opening- one cotton tape, one satin ribbon. Front centre panel has a piece of black satin stitched as lining from eighteen cm below waist (57cm deep). Stitched across and attached to side seams. Lower edge trimmed with black lace. Second piece of satin lining stitched to centre seam and stitched around the hip to partway across back.(Looks like a nylon petticoat cut in two pieces and stitched inside skirt as a lining). Hemline has fifteen cm piece of cotton lining attached and lower edge of hem has fringed cotton binding attached.. Side seams of front panel have decorative trim of embroidered braid extending seventy-six cms from waist. Braid then turned ninety degrees and continued in a horizontal zig zag line around to centre back seam (both sides) twenty cms above hem. Hand and machine stitched.costume, female, ladies dress- bodice.

This altar cloth is representative of ecclesiastical linen in use in the early to mid-20th century. It is decorated with the Mariner's Cross symbol, connecting it to the history of the early Christian church. The cover for the cloth shows the respect the maker had for the cloth and what it stands for. The Mariner's Cross symbol also makes it appropriate as an altar cloth for the St Nicholas Seamen's Church at Flagstaff Hill Maritime Village. MARINER'S CROSS symbol: - The symbol of an anchor that also looks like a cross is called the Mariner’s Cross (also called the Anchored Cross or Cross of Hope). It looks like a ‘plus’ sign with anchor flukes at the base and a ring at the top. The anchor is one of the earliest symbols used in Christianity and represents faith, hope and salvation in times of trial. The Mariner’s Cross is linked to the scripture in Hebrews 6:19, which says, “Which hope we have as an anchor of the soul, both sure and steadfast, and which entereth into that within the veil”. This particular Mariner’s Cross also has the letter ‘X’ under the post of the anchor. In Greek, the language of the New Testament, the word for Christ is ‘Christos’, which begins with the Greek letter ‘X’ or ‘Chi’. Together, the elements on this Mariner’s Cross - anchor, cross and ‘X’ - symbolise to the Christian that Jesus Christ the Saviour gives security and safety, hope and salvation. Many church organisations still use various forms of the Mariner’s Cross. THE MISSIONS TO SEAMEN (Brief History): - The Missions to Seamen was an Anglican charity that has served seafarers of the world since 1856 in Great Britain. Its symbol is a Flying Angel, inspired by a Bible verse. Today, there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000, the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres, such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943, a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. The altar cloth is representative of the ecclesiastical linen in use in the early to mid-20th century, when the original St Nicholas Seamen's Church was opened in Williamstown, Victoria. The Mariner's Cross embroidered onto the altar cloth gives it a connection with the early Christian church and with the Missions to Seamen. The fine hand stitching and embroidery are examples of traditional handcraft skills used over the centuries and continuing in use today.Altar cloth, white linen, with custom-made white cotton cover. The long rectangular cloth has the symbol of a Mariner's Cross (anchor and cross) embroidered with white silk thread on each short end. The wide hems are hand-stitched. The cover has two white tape ties and embroidered text in blue silk thread. This cloth and cover is part of the St. Nicholas Seamen's Church Collection. On cloth: symbol of (anchor with an 'X' stitched behind the centre of it). On cover, text "FLAGSTAFF/ HILL" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, religion, religious service, st nicholas seamen’s church flagstaff hill, altar cloth, church linen, ecclesiastical linen, mariner’s cross, anchor cross, cross of hope, symbol of christianity, anchored cross, flagstaff hill maritime museum and village, maritime village, religious worship, worship service, st nicholas seamen’s church, williamstown, missions to seamen victoria, mission to seafarers, st nicholas missions to seamen’s church williamstown, missions to seamen, st nicholas missions to seamen’s church flagstaff hill, 139 nelson place williamstown, anglican church

This full length lobster tail bustle was owned and worn by Alice Frances Henty, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. Bustles of this form date from the mid-1860s however this example probably dates from the mid 1870s, and perhaps from before her marriage to John Hindson in 1876. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.An exceptionally rare and fine, floor length, 'lobster tail' bustle that belonged to Alice Henty possibly worn with her two-piece pink silk gown but also with other dresses that she owned that required a bustle of this shape. The structure of the bustle includes an outer layer of polished cotton with inserted steel hoops and ties at the front. The lower four hoops have flounces of the same fabric. Overall, the bustle contains 12 hoops, crossed nearer the waist and semi-circular for the remainder of the undergarment. [One of the tapes of the bustle is imprinted with the word lockstitch. Elias Howe invented the lockstitch sewing machine in 1846.] Measurements (mm): BUSTLE: Girth - Waist 660 Vertical - Front waist to hem 914, Back waist to hem 965.fashion -- 1870s, alice frances (henty) hindson, women's clothing, bustles, underwear