Sad irons of the 19th century were so named because of the weight 1.8Kg that was needed to press wrinkled clothes and sheets. They were made of solid metal, including the handle. When the iron was heated, this meant that the handle would also heat up. The user would have to use a thick cloth or a mitt of some sort before they could pick up the iron. Even so, burns and blisters, as well as strained, tired arms, were a normal part of the “ironing day.” Mrs Mary Florence Potts of Ottumwa, Iowa, brought a change to the world of ironing. At the age of 19, in 1870, she invented her first sad iron. It had a hollow metal body that could be filled with a non-conducting material such as plaster of Paris. In 1871, Mary invented the removable wood handle, so that it could be changed from the cool iron to one that was hot and ready to use. A final improvement was the shape: Mary made both ends pointed so its user could iron in either direction. All of these inventions were patented under her name, a rarity for the time. Mary, with the help of her husband, tried unsuccessfully to market her invention on her own. It wasn't until she sold the sales rights to the American Manufacturing Company that sales took off. Advertised as "Mrs Potts' sad iron," it became a sensation. The company manufactured the iron from about 1876 to 1951. Mrs Potts' sad iron became a household word and a standard for future inventors to have to surpass. This didn't happen until 1882 when Henry W. Seely patented the first electric iron. The item is significant not only as a usable domestic tool, but it was, at the time of its creation, a revolutionary labour-saving device. Mrs Potts invention remains associated with a housewife's answer to the domestic drudgery of ironing.Iron,"Mrs Potts" pattern iron. Semi-circular or 'D' shaped wood handle and wood knob.Mrs Pottsflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, iron, clothes iron, flat iron, laundry, sad iron, mrs potts

Washboard, wooden framed with ribbed clear glass panel and metal nails.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, washboard, glass washboard, laundry, clothes washing

The lamp has been manufactured for decorative used, representing lamps of the late 19th and early 20th century used for lighting.The lamp is an example of a 19th century ships lamp. It is currently not associated with a historical event, person or place at this time and is being used to augment Flagstaff's village display.Metal lamp with circular base, 8-sided glass section and conical lid topped by a frilled metal cone and handle made from a strip of metal bent into a 'u' shape and attached so that it can swing back and forth..Cone hinges to side to give access to candle, which is seated in a short ring in the centre of the base. There is a ring of air holes around the circumference of the cone, about half way up the height of it. A shard of glass missing from one of the glass panels and the metal parts are corroded.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, lighting, candle lamp, domestic lighting, ship lamp

A colander, sieve or cullender is a kitchen utensil used to strain foods such as pasta or to rinse vegetables. The perforated nature of the bowl allows liquid to drain through while retaining the solids inside it is sometimes also called a pasta strainer or kitchen sieve. Conventionally, colanders are made of a light metal, such as aluminum or thinly rolled stainless or plated steel, colanders are also made of plastic, silicone, ceramic, and enamelware. The word colander comes from the Latin Colum meaning sieve.Early 20th century kitchen item possibly of French manufacture due to the design and shape of the bowl this design appears to have been favoured by the French around 1910 for smaller Colanders. This item gives a snapshot into domestic life around the late 19th and early 20th centuries and the types of kitchen equipment in use.Strainer or colander, metal, with concave base and wood handle, plated metal construction with welded or folded seams. Handle painted black, perforated base.Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, strainer, food strainer, seive, food preparation, kitchen ware

The fruit juice or lemon squeezer is a small kitchen utensil designed to extract juice from lemons or other citrus fruit such as oranges, grapefruit, or lime. It is designed to separate and crush the pulp of the fruit in a way that is easy to operate. Lemon squeezers can be made from any solid, acid-resistant material, such as plastic, glass, metal (usually aluminum) or ceramic. The oldest known lemon squeezers were found in Kütahya, Turkey and date to the first quarter of the 18th century. These ceramic presses are in the traditional style of Turkish pottery of the 18th century and have a superficial resemblance to today's press equipment with cones, though they are designed differently. These examples were individually made, and specially designed for making the then popular citrus drink sorbet. Lemons are not native to northern Turkey, though during the 17th and 18th centuries they were imported in bulk to Constantinople.The fruit juice press is an example of early 20th century kitchen utensils and is not associated with an historical event, person or place, provenance is unable to be determined at this time and the item is believed to have been made around 1900. This item is currently being used in Flagstaffs Hill village display and regarded as significant as it demonstrates domestic kitchen utensils used around the turn of the 19th century and today is a collectable item. Vintage lemon/citrus fruits squeezer cast iron juicer with two sections hinged together strainer on one section has holes for letting liquid escape.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, food press, food preparation, fruit juice press, kitchen utensil

A butter churn is a device used to convert cream into butter. This is done through a mechanical process, frequently via a pole inserted through the lid of the churn, or via a crank used to turn a rotating device inside the churn. The use of butter is mentioned in biblical works and the earliest butter churn vessels belonging to Beersheba culture in Israel were found in Bir Abu Matar going back to Chalcolithic period between 6500–5500 BC. The butter churn in Europe may have existed as early as the 6th century AD, In the European tradition, the butter churn was primarily a device used by women, and the churning of butter was an essential responsibility along with other household chores. In earlier traditions of butter making, nomadic cultures placed milk in skin bags and produced butter either by shaking the bag manually, or possibly by attaching the bag to a pack animal, and producing butter simply through the movement of the animal. An item used to make butter in a domestic situation by turning a handle until the cream inside has turned to butter.Butter churn, wooden, lid pieces screwed or nailed together. Brass bearing on side with iron turning handle.Handle marked 28204 no other marks to indicate manufacturer or date of productionflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, churn, butter churn, wooden churn, butter making, food, dairy, kitchen utensil

This wire soap holder is purpose-made by hand for holding a bar of soap in a way that allows the soap to air dry. It may have been used in the laundry, bathroom or kitchen, areas used for washing hands or bodies. Wet bars of soap could become very soft and difficult to use. The maker used short lengths of wire to create this soap holder, showing thriftiness and inventiveness.Although the soap holder is currently not associated with a historical event, person or place at this time it is being used to augment Flagstaff's village display as it is typical of items used in the 19th and early 20th centuries.Soap holder; basket shaped frame, handmade from twisted wire strands.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, soap h older, wire soap holder, cleaning, laundry, washing, sanitation

Containers like this handmade and varnished cane or wicker basket have been used in homes for decades for carrying wet or dry laundry items. The basket is an example of late 20th century cane ware. The craft has been used over the centuries to produce similar items for domestic use. This basket is currently not associated with a historical event, person or place at this time and is being used to augment Flagstaff's village display.Cane or wicker laundry basket with one handle, handmade and varnished. Basket is oval shaped., flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, basket, cane basket, laundry, laundry basket, washing basket, domestic item

Fire iron stand; black, all metal stand with a singular spine attached to rectangular base. below the handle on the spine is a horizontal 'U' shaped rack with a hook at each end and a hook at the centre back of the 'U' for hanging tools. Decorative metal handles on tools and rack. 4 parts; stand, brush, shovel, poker. Impressed into underside of stand "B1O2" and " ATWN"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, fire iron stand, fire iron, fire tools, fireplace set, fire iron set, domestic ware, heating

Sewing machine and case. Hand operated portable sewing machine, PFAFF brand. Wood inlaid design. Black machine body has gold floral decorations."PFAFF"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, sewing machine, hand operated sewing machine, clothing, clothing manufacture, tailor, industry, garment

Fire screen, gold plated meta,l fan shaped. Centre stem has sculptured head of loon (?)-type animal with wings. Main fan area has fold away leaves that fold to centre stem.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, fire screen, fan shaped fire screen, fire guard, fireplace, fire place tool

Sewing machine, portable, hand operated, with Premier logo. Has folding crank handle, body painted black with floral design, wooden base and separate wooden cover with lock. Base has compartment with accessories, covered by curved ended, sliding wooden panel. Decorative linework on side, carvings on each corner. Wooden handle on cover is carved in rings, folds down. Below handle is decorative inlaid pattern. Serial number on plate at back of machine. Accessories include 13 attachments, key (broken), screwdriver, sewing machine needle, razor blades (2) and buttons. Attached to inside of case is a square of paper with a number on it. Instruction book for Singer Sewing Machines is included. Also with machine are white tailor's chalk and a cut out, fabric pocket with tissue paper pattern pinned to it.Serial number "579200" is stamped into plate at back of machine. Brand on transfer on front of machine is "Premier". Paper inside case has hand written number "334A". Instruction book "Instructions for using Singer Sewing Machines No. 66 - Oscillating hook for family use" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sewing machine, permier sewing machine, hand operated sewing machine, dressmaker, fasion, singer no. 66 manual, textile, flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sewing machine, permier sewing machine, hand operated sewing machine, dressmaker, fasion, singer no. 66 manual, textile

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

The teaspoon is a European invention. Small spoons were common in Europe since at least the 13th century; the special spoons were introduced almost simultaneously with tea and coffee. (Pettigrew points to its use in the mid-17th century.) Originally the teaspoons were exotic items, precious and small, resembling the demitasse spoons of later times. Also used for coffee, these spoons were usually made of gilt silver, and were available with a variety of handle shapes: plain, twisted, or decorated with knobs, also known as knops, hence the knop-top name for such spoons. Widespread use and the modern size dates back to the Georgian era. The teaspoon is first mentioned in an advertisement in a 1686 edition of the London Gazette. Teaspoons, probably of English origin, are present in the 1700 Dutch painting by Nicholas Verkolje, "A Tea Party". An 1825 cartoon makes fun of a Frenchman unfamiliar with the British etiquette. The guest did not place his spoon into the cup and is thus being offered his thirteenth cup of tea! A special dish for resting the teaspoons, a "spoon boat", was a part of the tea set in the 18th century. At that time, the spoons played an important role in tea drinking etiquette: a spoon laid "across" the teacup indicated that the guest did not need any more tea, otherwise, the hostess was obligated to offer a fresh cup of tea, and it was considered impolite to refuse the offering. Pettigrew reports that sometimes the spoons were numbered to make it easier to match the cups with the guests after a refill. https://en.wikipedia.org/wiki/Teaspoon#:~:text=Teaspoon%20is%20a%20European%20invention,the%20mid%2D17th%20century).A history of the teaspoon.Metal teaspoon, badly corrodedNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Cylindrical, enamel coated metal mug. White in colour and has had blue enamel around lip.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Carafe with decorative oval shapes cut into the glass around the bowl area.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Plate ceramic white with indented pattern of parallel lines around the edge. Made by Johnson of Australia.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Bottle brush with long twisted handle with loop for hanging at end. Brush section is designed to form a spiral shape.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

A rolling pin is a simple tool used to flatten dough. The first civilisation known to have used the rolling pin was the Etruscans. Their advanced farming ability, along with a tendency to cultivate many plants and animals never before used as food and turn them into sophisticated recipes, were passed to invading Greeks, Romans, and Western Europeans. Thanks to the Etruscans, these cultures are associated with gourmet cooking. To prepare their inventive foods, the Etruscans also developed a wide range of cooking tools, including the rolling pin. Although written recipes did not exist until the fourth century B.C., the Etruscans documented their love of food and its preparation in murals, on vases, and on the walls of their tombs. Cooking wares are displayed with pride; rolling pins appear to have been used first to thin-roll pasta that was shaped with cutting wheels. They also used rolling pins to make bread (which they called puls) from the large number of grains they grew. Natives of the Americas used more primitive bread-making tools that are favoured and unchanged in many villages. Chefs who try to use genuine methods to preserve recipes are also interested in both materials and tools. Hands are used as "rolling pins" for flattening dough against a surface, but also for tossing soft dough between the cook's two hands until it enlarges and thins by handling and gravity. Tortillas are probably the most familiar bread made this way. Over the centuries, rolling pins have been made of many different materials, including long cylinders of baked clay, smooth branches with the bark removed, and glass bottles. As the development of breads and pastries spread from Southern to Western and Northern Europe, wood from local forests was cut and finished for use as rolling pins. The French perfected the solid hardwood pin with tapered ends to roll pastry that is thick in the middle; its weight makes rolling easier. The French also use marble rolling pins for buttery dough worked on a marble slab. Glass is still popular; in Italy, full wine bottles that have been chilled make ideal rolling pins because they are heavy and cool the dough. Countries known for their ceramics make porcelain rolling pins with beautiful decorations painted on the rolling surface; their hollow centres can be filled with cold water (the same principle as the wine bottle), and cork or plastic stoppers cap the ends. Designs for most rolling pins follow long-established practices, although some unusual styles and materials are made and used. Within the family of wooden rolling pins, long and short versions are made as well as those that are solid cylinders (one-piece rolling pins) instead of the familiar style with handles. Very short pins called mini rolling pins make use of short lengths of wood and are useful for one-handed rolling and popular with children and collectors. Mini pins ranging from 5 to 7 in (12.7-17.8 cm) in length are called texturing tools and are produced to create steam holes and decorations in pastry and pie crusts; crafters also use them to imprint clay for art projects. These mini pins are made of hardwoods (usually maple) or plastic. Wood handles are supplied for both wood and plastic tools, however. Blown glass rolling pins are made with straight walls and are solid or hollow. Ceramic rolling pins are also produced in hollow form, and glass and ceramic models can be filled with water and plugged with stoppers. Tapered glass rolling pins with stoppers were made for many centuries when salt imports and exports were prohibited or heavily taxed. The rolling pin containers disguised the true contents. The straight-sided cylinder is a more recent development, although tapered glass pins are still common craft projects made by cutting two wine bottles in half and sealing the two ends together so that the necks serve as handles at each end.Tiny rolling pins are also twisted into shape using formed wire. The pins will not flatten and smooth pastry, and the handles do not turn. The metal pins are popular as kitchen decorations and also to hang pots, pans, and potholders. https://www.encyclopedia.com/sports-and-everyday-life/food-and-drink/food-and-cooking/rolling-pinThe use of the rolling pin to make thin pastry or pasta.Wooden rolling pin with some damage on cylinder section.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, rolling pin, cooking, pastry

Cylindrical shaped mug, white enamel with blue trim around lip. Has markings on side. Some rust.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Enamelware dates back to 1760 in Germany.People wanted a way of coating iron to stop metallic tastes or rust getting into food: something acid-resistant and easy to clean without laborious scouring, something more durable than the tin linings used inside copper. http://www.oldandinteresting.com/enamelware-history.aspxWhite enamel cup with dark blue ring around lip and handle. Slightly rusted. Rounded shape unlike a mug.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tableware, enamel, cup, mug

A toasting fork is a three pronged fork designed to be used to toast things over an open fireplace. Classically, a toasting fork could be stuck into a piece of bread and used to hold the bread in the fire, with a periodic rotation for even browning. For advanced players, it's possible to use a toasting fork to make toasted cheese sandwiches and other hot sandwiches. A typical toasting fork is made of wire, and many modern ones are telescopic, allowing people to fold the fork up or slide the handle in when not in use. This makes toasting forks easier to store and transport, while allowing people to keep their hands well clear of the fire when the fork is in use. The three slender prongs can be of varying length, depending on the design; prongs which are too long will mangle the bread, while short prongs will allow the bread to slide off, so most designers try to strike a happy medium. Before the arrival of gas and electric cook stoves, households relied on heavy duty wood and coal fired cookers, or simply open fireplaces. Such stoves required a great deal of energy and maintenance to run, so when someone wanted a quick snack, toasting something over an open fire could be much more appealing than wrestling with the cooker. Some people also undoubtedly found the experience of toasting something over an open fire to be enjoyable. https://www.delightedcooking.com/what-is-a-toasting-fork.htmIn the old days, there were no electric toasters, so the toasting fork used near an open flame proved extremely effective.Fork with three prongs with hook design on the two outside prongs. Neck features decorative twisted design and there is more decorative work in the metal near the bone handle.None. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Glass manufacturing has evolved over thousands of years. Glass making has been traced back to 3500 BC in Mesopotamia. The earliest known glass objects were beads, perhaps made by accident while working with metal. In the late Bronze Age, several civilizations discovered how to make vessels and glass bottles by wrapping threads of melted glass around cores of sand or clay. Later, moulds were used to form dishes and table wares. Around the 1st century BC, glassblowing was discovered. This made glass containers less expensive than pottery. Mould-blown glass, the process of blowing a piece of molten glass into a wooden or metal mould, was invented during the 1st century AD. This technique was faster with more consistent results. It paved the way for mass production. It wasn’t until the late 1800s that the production process to become more efficient. In 1887, a company in England created a semi-automatic process that could produce up to 200 bottles an hour. This process has been refined to the point where modern machines can yield more than 600 containers per minute. Blown vs. Manufactured Glass Bottles Nowadays, glass bottles, jars, and cups are usually manufactured on a bigger scale than is found in individual glassblowing studios. If we still depended on hand-blown glass for all of our glass containers, we would see some major differences in the process of creating bottles and jars. First, there's the time. Hand blowing glass takes a significant amount of time, even for one simple container. In contrast, hundreds of jars per minute can be made using modern technology. This leads to the second advantage: price. Because of the automated and streamlined process, the price for manufactured containers is much lower than that of hand-blown glass. Third, manufactured bottles will be much more consistently uniform than bottles blown by hand. Automated glass manufacturing produces nearly identical batches of jars. Glass blowing is awesome for unique, beautiful pieces of art. But for lots of lower priced and uniformly shaped containers, automatic manufacturing is the preferred method to create glass bottles and jars. https://www.containerandpackaging.com/resources/glass-bottles-brief-history The invention and development of glass for domestic items including bottles, has been nothing short of revolutionary. The use of glass bottles, that could be easily washed, led to improved hygiene, and mass manufacturing of drinks of all types, including milk, cordial and alcoholic beverages.Green Glass Bottle Possibly a ginger beer bottle.Concave indentation at the base. Also on base are two raised lumps. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, glass

Fork 3 prongs with wooden handle and metal ring for hanging. Designed from 3 metal rods lashed together at stem and separating for the fork prongs.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

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

Square shaped enamel dish. Green speckled in colour on outside and white enamel inside. Green rim. Hole at one end. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Square shaped enamel dish, white and blue rim. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

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

One of the first documented mentions of pudding can be found in Homer's Odyssey where a blood pudding roasted in a pig's stomach is described. This original meaning of a pudding as a sausage is retained in black pudding, which is a blood sausage originating in the United Kingdom and Ireland made from pork or beef blood, with pork fat or beef suet, and a cereal. Another early documented recipe for pudding is a reference to asida, found in a tenth century Arabic cookbook by Ibn Sayyar al-Warraq called Kitab al-Ṭabīḫ (Arabic: كتاب الطبيخ, The Book of Dishes). It was described as a thick pudding of dates cooked with clarified butter (samn). A recipe for asida was also mentioned in an anonymous Hispano-Muslim cookbook dating to the 13th century. In the 13th and 14th centuries, in the mountainous region of the Rif along the Mediterranean coast of Morocco, flour made from lightly grilled barley was used in place of wheat flour. A recipe for asida that adds argan seed oil was documented by Leo Africanus (c. 1465–1550), the Arab explorer known as Hasan al-Wazan in the Arab world. According to the French scholar Maxime Rodinson, asida were typical foods among the Bedouin of pre-Islamic and, probably, later times. In the United Kingdom and some of the Commonwealth countries, the word pudding can be used to describe both sweet and savoury dishes. Unless qualified, however, the term in everyday usage typically denotes a dessert; in the United Kingdom, pudding is used as a synonym for a dessert course. Puddings had their 'real heyday...', according to food historian Annie Gray, '...from the seventeenth century onward'. It is argued that 'the future of the boiled suet pudding as one of England's national dishes was assured only when the pudding cloth came into use' and although puddings boiled in cloths may have been mentioned in the medieval era, one of the earliest mentions is in 1617 in a recipe for Cambridge pudding, a pudding cloth is indicated; 'throw your pudding in, being tied in a fair cloth; when it is boiled enough, cut it in the midst, and so serve it in'. The pudding cloth is said, according to food historian C. Anne Wilson, to have revolutionised puddings. 'The invention of the pudding-cloth or bag finally severed the link between puddings and animal guts. Puddings could now be made at any time, and they became a regular part of the daily fare of almost all classes. Recipes for them proliferated.' https://en.wikipedia.org/wiki/PuddingPuddings and pudding making have evolved over the years, and continue to do so. White ceramic pudding bowl with fluted decoration on the outside.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, puddings, ceramics

Wooden spoons were common utensils in colonial days and are still used today. The spoon is an example of kitchen utensils made and used in colonial Australia.Spoon wooden blonde, rod handle, oval shape base with flat top flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, spoon, wooden spoon, kitchen utensil, cooking utensil