Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family. commercial artSeven paintings undertaken by Edith Alice (Alice) Watson at the Ballarat Technical Art School, a division of the Ballarat School of Mines. ballarat technical art school, edith alice watson, ornament, flora, alumni, composition, composition of form and colour, general design, australian flora, light and shade, commercial art

Clifton Banks is the name given to a bank on the Hopkins River Estuary, about one kilometre upstream from Proudfoots Boathouse. It is at the foot of the property, Clifton which dates from the 1850s. There are several works of art and photographs depicting Clifton Banks which date from the 19th and early 20th centuries. This oil painting is believed to be the work of Emma McGeorge, the wife of Canon Samuel McGeorge, the Vicar of Christ Church, Warrnambool form 1899 to 1905. It is surmised that Emma McGeorge was encouraged by the artist Mary Norman to take up painting as a pastime or to continue with her art interests. Emma McGeorge may have been a pupil of Samuel Pearce Fuller and Mary Norman. She was successful as an exhibitor and entrant in art exhibitions in Warrnambool in the early 1900s. She died in Warrnambool in 1933. This is a highly significant art work as it has artistic merit and is one of the depictions of Clifton Banks on the Hopkins River and so has historical value. It is an example of the high standard of art work that was being produced, especially by women, in the late 19th and early 20th centuries in Warrnambool. It was bought at an auction sale in Camperdown by Les O’Callaghan in 1997. This is an oil painting, probably by Emma McGeorge, on art board of Clifton Banks on the Hopkins River. It has a gilt wooden frame with multi-tiered highly-ornamented outer frames in a gold colouring. The lower frame is discoloured (perhaps by smoke from a fire place) and there is a small piece of wood missing on the lower frame. All the gilding is slightly discoloured. The back has been sealed with pasted paper and there are old tacks and old wire for hanging the picture. There is a label on the back from W. Hickford, the Warrnambool picture framer and handwritten information on the artist and the artwork by Les O’Callaghan.Front: ‘E.Mc.G.’ Back: ‘W. J. Hickford, Picture Dealer, Framer and Gilder, Liebig Street, Warrnambool, Mounting and Repairing, Old Frames Re-gilt, Oakley Printer’ ‘603’ clifton banks, emma mcgeorge, warrnambool, hopkins river estuary

This note-pad and holder perhaps belonged to Jessie Bell whose name is written on the first page. There are several entries on the pages and the dates range from 1908 to 1929. The entries include references to a Banquet for Mr J. Duffus, Purnim, 1912, Jack Ross’ Wedding Party, Dennington, 1912, R.J. Jones’ Dance, Woolshed, 1928 and Leila Jenkins’ 21st Birthday Party, 1928. This notebook and holder is of interest because it is an example of the type of appointment book used by the more affluent in the early 20th century. This is a heavily-embossed silver note-pad holder with a hinged lid on the front and clips at the side to hold a pencil. The writing material inside the pencil is missing. The back of the holder has a blank space in the middle where a name can be inscribed. At the top of the holder is a ring, holding a chain with an ornamented clip at the end. This enables the holder and pad to be hooked over a belt or lapel. Inside the holder are fifty paper pages on which to write appointments or notes. The pages are gilt-paged. The paper contains several notes handwritten in pencil re dances, parties etc. First Page: ‘Jessie A. Bell, Warrumyea, Wangoom, Warrnambool’ jessie bell, appointment book, warrnambool history

This post card has been sent from a military camp in England by Private George Hall to his niece Myra. Private Hall was a farmer from Purnim who enlisted in August 1915 (14th Battalion, 15 Reinforcement Group). He was aged 30 at the time. He left Australia in 1916 and transferred to 3 Field Artillery Brigade. He returned to Australia in 1919. The card gives no details of Private Hall’s activities at the time but indicates that he had sent several post cards to members of his family. This post card is of interest as an example of the many beautiful embroidered post cards that were sent by Australian soldiers to family members during World War One. The cards were usually made in France and sent from there but in this case was sent from England. The card is also of interest because it is a personal message sent from a local soldier from Purnim during World War One This is a post card from World War One. It has a written message on the back from Private George Hall to his niece Myra and it has a piece of embroidery on the front of the card. This depicts a black cat with the British colours of red, white and blue around its collar and other ornaments – a white horseshoe, a Union Jack, a white pedestal and red, green and white greenery. The words ‘Good Luck’ are stitched in yellow. The stitching is on white silk which is somewhat stained. There is a crimped border in lightweight cardboard around the embroidery. The message on the back is written in pencil.‘Dear Myra, Just this P.C. to let you see I have not forgotten you. Hope you are quite well. I have sent you & Dorry a lot of P. cards from England. I hope you get them all right. Your poor old Uncle George, 4821, 40 Bat. Worgret Camp, Wareham, Dorset. Wishing you all a very Merry Xmas & Happy New Year XXXX Nov. 24th -11-16.private george hall, world war one, world war one embroidered postcards, history of warrnambool

Warrnambool has been an attraction for tourists for over 100 years. It has been popular as a coastal resort and today the winter whale season brings more tourists. In the late 19th and early 20th centuries Warrnambool was promoted as a spa and health resort, partly because of its hot and cold sea water baths and partly because of its bracing climate and attractive coastline. Thunder Point, depicted on this item, has been a popular visiting spot for tourists for many years. Buying a high quality ornament such as this one was a popular activity of tourists in the mid 20th century. Tourists today buy souvenir items but the choice and range vary from what was available 80 years ago. This item is retained as an example of a local souvenir bought by tourists in the mid 20th century. This is a small white china mug with a gilt edging or strip around the top opening rim, the base and the handle. There is a colour image of a seascape in blue, yellow and black on the side of the mug and the maker’s name on the base.‘Victoria Fine China’tourism in warrnambool, souvenir china items 20th century, history of warrnambool

This swagger stick belonged to Private Ernest LUCAS who served with the Royal Defence Corps between 17/6/1907 and 18/5/1919 including the 6th Battalion Middlesex Regiment In the British Army before World War I, swagger sticks were carried by all other ranks when off duty as part of their walking out uniform. The stick took the form of a short cane of polished wood, with an ornamented metal head of regimental pattern. The usual custom was for the private soldier or NCO to carry the stick tucked under his arm. Until 1939 swagger sticks were still carried by peacetime regular soldiers when "walking out" of barracks but the practice ceased with the outbreak of World War II. The 6th Battalion Middlesex Regiment can trace its history back to 7 August 1760 as part of the Middlesex Militia. In 1778 it was titled the 1st East Middlesex Militia. By royal order the regiment was later designated the Royal East Middlesex Militia on 24 April 1804. By 1855 it was using the formal title of "1st or Royal East Middlesex Regiment of Militia". In 1900 the number of regular Middlesex Regiment battalions was doubled with the formation of a new the 3rd and 4th battalions; and the two militia battalions were renumbered as 5th and 6th battalions of the regiment. The unit's standing orders of 1863 record the regimental insignia as being somewhat unusual, in that it did not include standard royal crown, but featured a five-pointed Saxon Crown atop a shield with the arms of the East Saxon Kingdom i.e. three stylised Seaxes hilted and pommeledpLong narrow round cane made from polished reddish/brown wood with brass metal tip and embossed silver topSilver metal top embossed with a crown above a shield inscribed 6th Battalion Middlesex Regtswagger stick, 6th battalion middlesex regiment, private ernest lucas

This is a Federation certificate showing the signatures of the Shire of Warrnambool personnel who signed the addresses presented by the Municipalities of Victoria to the Duke of York and the Governor-General in 1901 on the occasion of the Federation of the six colonies in Australia. This was a highly significant event in Australia’s history and Warrnambool shared in this occasion by voting overwhelmingly in the Referendum in favour of Federation. This certificate shows the official local government acceptance of the inauguration of the Commonwealth of Australia and the regard for matters of Empire and the representatives of British Royalty. It also has the signatures of the Shire personnel, many of whom were prominent men in the Warrnambool district in the early 20th century, especially Gideon Nicol, James Lindsay, Alexander Rollo and John Glasgow. It was reported in the Warrnambool Standard at the time that this certificate had been designed and illuminated by Victor Henry, an art student from Warrnambool and the son of one of Warrnambool’s Councillors, This is a certificate indicating that the Shire of Warrnambool Councillors signed the Addresses presented by the Municipalities of Victoria to the Duke of York and the Governor- General in January 1901. The certificate is mounted on card with paper binding on the edges and contains the signatures of the President of the Shire of Warrnambool, nine Councillors and the Shire Secretary. It is highly ornamented with lithographs of the crests of the six States of Australia, an archway , an image of a woman representing the British Empire, a lion, a British flag and the crest of ‘United Australia’ and other symbols. The printers of this copy were Sands and McDougalls of Melbourne. The certificate is coloured in mostly yellow, green and brown tonings. The signatures are in black ink. federation, shire of warrnambool federation certificate, warrnambool

A 100-yerar-old (+) postcard designed and ornamented in sand. It is part of a larger collection donated to the Kew Historical Society by Anna French. The collection includes personal items from the donor's family, as well as items given to the donor and her mother by a family friend, Lucy Merritt (Jean) Hornby. The item is from that part of the collection inherited or assembled by Jean Hornby. The collection is significant given Jean Hornby's mother's descent from Robert Hornby (1854-1935) and Eva Merritt (1865-1959); her mother the chid of a family who settled in Kew in the 1850s, thus providing a chain of provenance for items dating to the mid-nineteenth century, when her maternal forebears arrived in Melbourne. Other items represent Jean Hornby's contribution to her local and wider community.Tiny postcard with a design made by local coloured sands. The card is attached to a larger inscribed sheet.Postcard: Alan Bay Sands / St Lawrence's Church, Undercliff, I of W. Sheet: Over 100 years / St Lawrence's Church Undercliff / Isle of Wight / Made of Alan Bay sand, which is of seven different colours.postacrds, isle of wight, coloured sand postcards, alan bay -- isle of wight

These umbrellas are typical of the ones women would have used early in the 20th Century. It was important to keep the rain from damaging their clothing as washing facilities were limited. .These umbrellas are charming and retained for display purposes..1 An umbrella with a wire frame and a wooden handle. The frame is tipped with ivory coloured composite material. The handle has a red tassel. The covering is a multi coloured cloth with a pink edge. The inner section has a cream background with pink and light brown leaves, branches and flowers. The outside is faded. .2 An umbrella with a black wire frame and a wooden handle. There are tips on the end of the frame. The handle is varnished and ornamented red and black. It has a string tassel in red, white and blue and a corded wrist band. There is writing on the frame. The covering is corded rep with a multi-coloured floral pattern and has a faded, wide navy edging..2 BRITISH MADEumbrellas, vintage clothing

Photograph of a lady in a frame surrounded by blue and blue and white Forget-me-nots with yellow green and orange leaves. The background is of small white tiles. The photo is oval and trimmed with a small gold metal rope.. The back of the photo is gold with a gold wire support. there are three gold clasps keeping the picture in place also the number 1049 is in texta on the left bottom. The lady has dark hair parted in the center, she is sitting with her right arm resting on a bench. She has a dark blouse with a flower at the neck, a long chain hangs from her neck which has an ornament at the end. The shirt is of a lighter material.person, individual, female

This wedding dress was made & worn by Marjorie Gertrude Schneider, elder daughter of Mr & Mrs A. A. Schneider, of Lorquon, married Harold Francis Rohde, youngest son of Mr & Mrs J. B. Rohde, of Gerang, at St. Paul's Lutheran Church, Woorak, March 2nd, 1949.The dress was handmade by the bride, Marjorie Schneider.A charming frock of ivory cloque, inset with a yoke of beige lace with scalloped edges, cut on very flattering lines. The bodice, fitting perfectly to the waist and the back having a row of buttons, was ornamented as the shoulder with a diamante clip which had adorned her mother's wedding gown. The full skirt was draped softly from the waist, & extended into a long train at the back. The halo of orange blossom, which held the veil in place, set off to perfection the exquisite bride. She carried a shower bouquet of creamy white tiger lilies, gardenias, dahlias, gladioli and rose buds, & added to this was several horseshoes given by friends.schneider, rohde, woorak, st paul's lutheran church, gerang, lorquon, wedding

The imposing white marble statue of William Wallace by Percival Ball stands approximately 8 feet tall with helmet and sward. The statue is mounted on a granite base with a marble plaque inscribed in praise of William Wallace, the Scottish warrior famous for leading the defeat of English forces at the Battle of Stirling Bridge in 1297. The artwork is located in the Botanic Gardens in Ballarat, Victoria and can be seen upon entry from the main gates. Sculpted by Percival Ball of Melbourne and unveiled in 1889, the statue was funded by a £3000 bequest to the gardens by James Russell Thomson, a Scottish miner who made his fortune during the Victorian gold rush. It was intended as a tribute to Thomson’s Scottish origins. The front the statue bears an inscription from Robert Burns’ 1785 sentimental poem ‘The Cotter’s Saturday Night’, which also lauds Wallace as a noble patriot and hero.The artwork is of historic and aesthetic significance to the people of BallaratWhite marble statue of William Wallace on plinthWALLACE Bequeathed to the public of Ballarat by the late James Russell Thomson unveiled 24th May 1889. "Oh thou! who poured the patriotic tide that streamed through Wallace's undaunted heart, who dared to nobly stem tyrannic pride, Or nobly die, the second glorious part, (The patriot's God, peculiarly thou art. His friend, inspirer, guardian, and reward!) Oh never, never, Scotia's realm desert; But still the patriot, and the patriot bard, in bright succession raise her ornament and guard;" (Burns)sir william wallace, statues, statuary pavillion, botanical gardens, lake wendouree, william wallace statue, charles summer, percival ball

Victoria and its Metropolis past and present. This is Vol. II of a two-part set. Leather bound with a black cover, heavily ornamented in gold around the edges of the cover and with the printed material also in gold lettering in an ornamental pattern. The spine of the covers is brown with gold ornamental patterns and printing. Volume Two has 822 pages with many black and white illustrations and chapters on the regions in Victoria and biographical notes on the pioneer settlers of these districts. Volume one was written by Alexander Southerland. Volume two by L.J. Ellery, W.C. Bernot, Baron Ferd. Von Mueller, J.E. Nield, A.A.C. Le Souefand Henry Giles Turner. Published in 1888 in Melbourne by McCarron & Bird.history, victoria, 1888

The Baptist Chapel was first opened in March 1868 in Lerderderg Street, Bacchus Marsh, next to State School No. 28. The plans were prepared by James G. Pippett and the building was constructed by bricklayer J.F.Taylor and carpenter W. Nelson. When fire threatened its destruction in 1871, the townspeople assisted in saving the building by tearing off the roof and removing windows and flooring. Subsequently it was found that a solid silver Communion Service was missing as well as the contents of the Poor Box. The Chapel was renovated and used until 1898 when the building was moved to Main Street, next to the Post Office. Two rooms were added at the front when the building was rebuilt. It was demolished in 1985.Small sepia unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album, which contains photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll. The photograph is of a substantial brick building with a shingle roof. The gable above the front entrance and the side of the building under the guttering are ornamented with rows of bricks laid horizontally. A round window sits in the centre of the gable. The central door and the front and side sash windows are topped by semi-circular brick arches. The ornamentation is continued with contrasting bricks down the corners of the building. An ornamental iron fence runs along the front of the building. A large fir tree stands in the grounds. On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE churches bacchus marsh, baptist chapel bacchus marsh

Makers of Snakebone Necklaces Two local women who made these necklaces were: Minnie Blucher (nee Wanke) (c.1891-1976) who lived at Briagolong in the 1940s. Highly artistic, she eagerly sought out snakes, killing many around Noble's Bridge. Peter Mills of Briagolong remembers that she would hang them on fences for maggots to eat away the fresh, and painted and dyed the bones. She also used spine bones from cattle for ornaments. Bella Buttsworth (1882-1951) was the daughter of Thomas and Rachel Mills of Briagolong, and the aunt of Ina Worseldine of Maffra. Ina remembers her making these necklaces in the 1920s, and that she placed beads in between the bones. The comment was also made that she often put large bones at the front and smaller ones to the back. Bella obtained the bones by boiling the dead snakes down, and then left the bones out on logs in the sun to bleach.A circular necklace made of spine bones from snakes and red beads, threaded onto copper wire. It contains 20 bones, each with a red bead between it and the next, with five red beads near a rough hook catch. The bones appear painted, possibly with calcomine.craft, handcrafts

Discusses the influence of background, temperament and creativity on an architect as well as the three phases in the development of architecture in 20th century and the theme of space. A long critique on the issue of the sails of the Sydney Opera House. The question of art versus technology in the future of architecture is argued. (Is this related to D020)This is an untitled speech, annotated with numbers indicating markers for slides, "Lights".Typewritten (carbon copy), with major pencil edits, quarto, 21 pages. Starts on page 2.On page 2, the title 'The Phases of Modern Architecture' is crossed out.creativity, functionalism, ornament, romanticism, fragmentation, space, computer, beauty, sydney opera house, sigfried giedion, jorn utzon, ove arup, super-functionalism, robin boyd, manuscript

These two volumes are seminal historical writings published in 1888. The author of Volume One is Alexander Sutherland (1852-1902), described as ‘a forgotten Australian intellectual’. Born in Scotland, Sutherland was a teacher, poet, biographer, novelist, scientist, philosopher and journalist. In 1902 he was the Registrar of Melbourne University and he was the Secretary of the Royal Society of Victoria. With his brother, George, he wrote a history of Australia and New Zealand which sold 100,000 copies, the first best-selling Australian history. His book, ‘The Origin and Growth of the Moral Instinct’ influenced Russian philosophical thought. This is a most significant book as it contains short biographical notes on a great number of early (19th century) residents of the Warrnambool district. As well as listing information on Warrnambool identities it includes information on residents of Purnim, Wangoom, Dennington, Panmure, Garvoc, Framlingham, Winslow, Yangery, Woodford, Mailors Flat, Grasmere, Bushfield and Allansford. It is a great resource for researchers today. The two volumes also contain illustrations pertaining to the areas around Warrnambool and are of great historical as well as artistic interest. These are two volumes of ‘Victoria and Its Metropolis’. They are leather bound with a black cover, heavily ornamented in gold around the edges of the cover and with the printed material also in gold lettering in an ornamental pattern. The spine of the covers are brown with gold ornamental patterns and printing. Volume One has 594 pages with 258 illustrations , all black and white and this volume contains writings on the early days of the colony up to 1888 and chapters on the arts, churches, education, industries, science etc. in Victoria. Volume Two has 822 pages with many black and white illustrations and chapters on the regions in Victoria and biographical notes on the pioneer settlers of these districts. Both volumes are in a very tattered condition with many loose pages and the leather binding much torn and with some parts missing. Volume One cover: ‘Victoria and its Metropolis, Past and Present’ Volume One spine: ‘Victoria and its Metropolis, Vol. 1’ Volume Two Cover: ‘Victoria and its Metropolis, Past and Present’’ Volume Two Spine: ‘Victoria and its Metropolis, Vol. 2’ 19th century victorian history, victorian pioneer settlers, alexander sutherland

New Zealand Greenstone, also called Pounamu is found on New Zealand’s South Island in riverbeds and boulders, and colours vary depending on the source, but always include green tones. It is a form of the mineral nephrite, also known as jade, and is a tough stone with a crystalline structure, made up of calcium magnesium and iron silicate. Its hardness means it is ideal for carving, and has been used for this purpose throughout history, especially by the Maori people of New Zealand. Greenstone features heavily in Maori mythology, and the traditional name for the South Island, Te-Wai-Pounamu, literally translates to waters of greenstone. Wearing of Greenstone pendants with different carvings is practiced by Maori to represent connection to land and ancestors, or to endow the wearer with certain attributes. The sticker on the base of the specimen identifies it as a product of Hokitika Jade Company. The company, which was active in the 1970s, sold jade and greenstone specimens and ornaments. Hokitika, which started life as an 1860s gold rush town, is the origin of most nephrite found in New Zealand, and the centre of the Greenstone carving industry. The object has scientific and research potential as part of the Burke Museum's Geology Collection, and as and example of New Zealand Greenstone. It also has spiritual significance for it's role in Maori beliefs and communities, where it is both traditionally worn and features in mythology. As a valuable stone regularly used in carving and jewellery, it has aesthetic significance. Sticker on base: "N.Z. Greenstone/ a product of/ Hokitika Jade Coy."geological specimen, geology, geology collection, burke museum, beechworth, new zealand, greenstone, hokitika, nephrite, jade

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

Used at the Ballarat School of Mines and the Ballarat Technical Art SchoolThis collection of examinations is significant because of its completeness with the full range of examinations between 1914 and 1950.Large leather bound books, with leather spine, containing all examinations held at the Ballarat School of Mines (including the Ballarat Technical Art School and Ballarat Junior Technical School). The examination papers were supplied and printed by the Education Department, Victoria. Examinations include: Agriculture, Algebra, Architecture, Arithmetic, Applied Mechanics, Assaying, Biology, Botany, Boilermaking, Building Design, Blacksmithing, Bricklaying, Carpentry and Joinery, Coachbuilding, Cabinet Making, Civil Engineering, Cabinet Making, Commercial, Chemistry, Engineering Drawing, Economics, English, Electrical technology, Electricity and Magnetism, Electric Wiring, Electric Welding, Electrical Fitting, Electrical Trades, Food Analysis, Geology, Geological Mapping, Graphics, Geometry, Heat Engines, Heat Treatment, Hydraulics, Hand Railing, Instrument Making, Millinery, Milling and Gearouting, Machine Shop Practice. Metal Founding, Mining, Metallurgy, Mineralogy, Mathematics, Motor Mechanics, Mine Surveying, Mining Mechanics, Petrology, Physics, Painting and Decorating, Pattern Making, Plastering, Plumbing and Gasfitting, Printing, Refrigeration, Spelling, Science , Shorthand, Surveying. Signwriting. Sheet Metalwork, Toolmaking, Ladies Tailoring, Trigonometry, Typewriting, Welding, Commercial Geography. Millinery, Dressmaking, Needlework, Decorative Needlework, Architecture, Building Design and Construction, Art (Composition in Form and Colour), Art (Casting Clay MOdels) Art (Drapery), Art (Drawing the Human Figure From Casts), Art (Drawing the Antique from Memory), Art (Drawing from Memory); Art (Drawing Plant Forms from Nature, Art (Drawing Plant Forms From Memory), Art (Drawing from Models and Objects), (Drawing From a Flat Example). Art (Drawing in Light and Shade from a Cast of Ornament or Lower Nature), Art (Drawing Ornament from the Cast), Art (Drawing from Models or Objects), Art (Drawing fro Dressmakers' and Milliners' Fashions), Art (Drawing With the Brush), Art (Drawing from a Flat Example); Art (Modelled Design), Art (General Design), Art (Embossed Leatherwork), Art (Practical Plane Geometry), Art (Practical Solid Geometry), Art (Geometrical Drawing), Carpentry and Joinery, Art (Human Anatomy), Art (Historic Ornament), Art (House Decoration), Art (LEttering), Signwriting, Art (Light Metalwork), Art (Modelling), Art (Modelling the Human Figure from a Life), Art (Stencilling); Art (Wood Carving) Refrigeration, Teaching, Boilermaking, Blacksmithing, Carpentry and Joinery, Coachbuilding and Carriage Drafting, Electric Wiring, Electrical Fitting, Graining and Marbling, Instrument Making , Machine Shop Practice, Metal Founding, Milling and Gear Cutting, Motor Mechanics, Painting and Decorating, Sheet Metalwork, Toolmaking, Printing, Pattern Making, Plumbing and gasfitting, examinations, ballarat school of mines, ballarat technical art school, trades, education department victoria, agriculture, algebra, architecture, arithmetic, applied mechanics, assaying, biology, botany, boilermaking, building design, blacksmithing, bricklaying, carpentry and joinery, coachbuilding, cabinet making, civil engineering, commercial, chemistry, engineering drawing, economics, english, electrical technology, electricity and magnetism, electric wiring, electric welding, electrical fitting, electrical trades, food analysis, geology, geological mapping, graphics, geometry, heat engines, heat treatment, hydraulics, hand railing, instrument making, millinery, milling and gearouting, machine shop practice, metal founding, mining, metallurgy, mineralogy, mathematics, motor mechanics, mine surveying, mining mechanics, petrology, physics, painting and decorating, pattern making, plastering, plumbing and gasfitting, printing, refrigeration, spelling, science, shorthand, surveying, signwriting, sheet metalwork, toolmaking, ladies tailoring, trigonometry, typewriting, welding., dressmaking, needlework, decorative needlework, architecture, building design and construction, art (composition in form and colour), art (casting clay models), art (drapery), art (drawing the human figure from casts), art (drawing the antique from memory), art (drawing from memory), art (drawing plant forms from nature, art (drawing plant forms from memory), art (drawing from models and objects), (drawing from a flat example), art (drawing in light and shade from a cast of ornament or lower nature), art (drawing ornament from the cast), art (drawing from models or objects), art (drawing for dressmakers' and milliners' fashions), art (drawing with the brush), art (drawing from a flat example), art (modelled design), art (general design), art (embossed leatherwork), art (practical plane geometry), art (practical solid geometry), art (geometrical drawing), art (human anatomy), art (historic ornament), art (house decoration), art (lettering), art (light metalwork), art (modelling), art (modelling the human figure from a life, art (stencilling), art (wood carving), teaching, coachbuilding and carriage drafting, graining and marbling, milling and gear cutting, commercial geography, exams, examination book

The early settlers of Victoria depended on horse drawn vehicles to farm, make roads and railways, deliver produce and transport people. Horse harnesses were an important requisite for all drivers and could be found wherever there were working horses. Horse Harnesses have played an essential role in different cultures throughout history. Simple, utilitarian horse harnesses made of leather straps and iron rings were being used in early China before AD 500 as well as ancient Greece and Rome, allowing horses to pull chariots and ploughs. The Greeks and Romans were the first to use a "horse collar" which distributed the weight of the harness evenly across the horse's chest rather than relying on a "throat harness" that could damage a horse's throat or choke them. During the medieval period, European horse harnesses became more elaborate and decorative. Variations of different horse harnesses were also found in Native American and Middle Eastern cultures. Horse Harnesses usually have four basic components which include - 1. Communication - the bridle, bit and reins allows the driver to communicate instructions and commands to the horse, guiding its movement and direction. 2. Draft - the collar, hame straps, hames, traces and chains enables the horse to draw and pull the load efficiently by distributing the weight and transferring the pulling force to the vehicle. 3. Stopping - the breeching band, pole straps and breast strap helps to control or stabilise the horse and vehicle when moving downhill or stopping. 4. Support - the back pad, backband, belly band and back saddle keep the harness in the correct position and proper alignment. This show harness was used by Mr. Andy Bourke when showing his Clydesdales at shows or demonstrations. Although a more modern example with decorative embellishments, it still has many essential components traditionally found in an everyday working horse harness. The original purpose of the "housen" for example, was to run rain or drizzle off the horse's neck when they had to work in wet conditions - it was laid flat for this purpose on the top of the collar. Nowadays it is purely for show and is often used to advertise a business or stud. Horse brasses and fly terrets were fastened to various parts of a horse's harness. In the early days they probably began as amulets to ward off evil and to bring good luck and continued to be used as a festive decoration. The heyday of horse brasses was between the years 1851 and 1900. Horse brasses are fastened to various parts of the harness with many of their designs being symbolic. The ornamentation on this harness (although not authentic horse brasses) are based on the horse brasses that were popular in the 19th century. This horse harness is a significant example of the equipment that was needed wherever heavy horses were being used - particularly in the early years of Victoria's settlement by white settlers. Harnesses such as this example were used with stage coaches, drays, farming equipment, delivery carts and personal transportation.A leather and metal horse harness used when showing a Clydesdale (or other breed of heavy horse). It is made up of a number of components. 1. Decorative leather cart saddle with two large cloth pads underneath (which have a scalloped leather and stud border), a raised leather pommel and a silver and red coloured metal back strap holder across the top. It has two symmetrical sets of ornamentation (silver hearts and circles) in the front and a wide strap or girth (with a maker's stamp reading "R. Mitchell Saddler") and buckle which attaches the saddle to the horse. 2. Pair of steel hames which are gently curved (to fit on a horse collar) and are topped with steel knobs. They have several steel rings and lugs (to hold straps and chains) and a "Made in England Warranted Steel" stamp. 3. Breeching harness which consists of a number of leather straps, chains and metal rings including a wide padded leather strap with a scalloped edge that sits on the back of the horse and a thick leather strap that goes around the hind quarters of a horse which is joined to the back strap with four shorter vertical straps and buckles. These straps feature silver and red patent leather trim and silver heart shaped ornamentation. The strap also features the maker's stamp of "R. Mitchell". 4. Decorative leather bridle with blinkers featuring the same silver and red patent leather trim on the cheek piece, brow band and throatlatch. It has a stainless steel "Liverpool Driving Bit" with a curb chain, a variety of decorative silver ornaments (rosettes, diamonds plus a heart and two circles) on each end of the forehead band, dropper and strap as well as a silver metal bell (sometimes known as a "fly terret" or "swinger") that sits on the headpiece of the bridle. 5. Leather "violin shaped" dropper (or hanger) with two silver rosette shaped ornaments and a stainless steel clip on the top 6. Stainless steel "Liverpool Driving Bit" with a straight mouthpiece which is ribbed on one side. It has three rein spots (spaces) and a curb chain. 7. Leather arch shaped "Housen" covered in black and red patent leather and decorated with silver studs (some spelling out F H) and bordered with a red fringe. It has a leather strap at the back and two leather loops on the front. 8. Leather padded backband (Australian style "Stallion Draught Roller") decorated with two groups of nine metal "horse brasses" or harness ornaments displaying horseshoe, starburst and horse head designs on blue, red and white striped webbing. The backband has three notched straps at each end, a buckle near the centre and the initial B stamped in two places underneath. 9. Bellyband made of leather and red, white and blue striped webbing. It has a set of three buckles at each end (which correspond with the notched straps of the backband). 10. Wide, thick leather strap which has a buckle and notches at each end. It also has the maker's stamp of "R. Mitchell Saddler". 11.One pair of long leather traces - each with a buckle and notched loop at one end, decorated with a small silver diamond shaped harness ornament. 12. Length of stainless steel heavy duty chain with two swivel connectors.Saddle - "R.MITCHELL / SADDLER" Hames - "MADE IN ENGLAND / WARRANTED / STEEL" "MADE IN ENGLAND / WARRANTED / unclear" Breeching Straps - "R. MITCHELL / MAKER / R. MITCHELL MAKER" Housen - "F H" Backband "B / B' Wide leather strap - "R. MITCHELL / SADDLER"flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, harness, horse harness, show harness, clydesdale horses, andy bourke, horse drawn cart, housen, bridle, hames, breeching straps, dropper, bit, liverpool bit, backband, harness ornamentation, bellyband, back saddle, fly terret

This toy monkey was part of the cargo from the Fiji and amongst the articles salvaged from the wreck. The three-masted iron barque Fiji had been built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on 22nd May 1891 bound for Melbourne, under the command of Captain William Vickers with a crew of 25. The ship’s manifest shows that she was loaded with a cargo of 260 cases of dynamite, pig iron, steel goods, spirits (whisky, schnapps, gin, brandy), sailcloth, tobacco, coiled fencing wire, concrete, 400 German pianos (Sweet Hapsburg), concertinas and other musical instruments, artists supplies including brushes, porcelain, furniture, china, and general cargo including candles. There were also toys in anticipation for Christmas, including wooden rocking horses, miniature ships, dolls with china limbs and rubber balls. On September 5th, one hundred days out from Hamburg in squally and boisterous south west winds the Cape Otway light was sighted on a bearing differing from Captain Vickers’ calculation of his position. At about 2:30am, Sunday 6th September 1891 land was reported 4-5 miles off the port bow. The captain tried to put the ship on the other tack, but she would not respond. He then tried to turn her the other way but just as the manoeuvre was being completed the Fiji struck rock only 300 yards (274 metres) from shore. The place is known as Wreck Bay, Moonlight Head. Blue lights were burned and rockets fired whilst an effort was made to lower boats but all capsized or swamped and smashed to pieces. Two of the younger crewmen volunteered to swim for the shore, taking a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, 17 year old able seaman Julius Gebauhr, a German, reached shore safely on his second attempt but without the line, which he had cut lose with his sheath-knife when it become tangled in kelp. He rested on the beach a while then climbed the steep cliffs in search of help. At about 10am on the Sunday morning a party of land selectors - including F. J. Stansmore, Leslie Dickson (or Dixon) and Mott - found Gebauhr. They were near Ryans Den, on their travels on horseback from Princetown towards Moonlight Head, and about 5km from the wreck. Gebauhr was lying in the scrub in a poor state, bleeding and dressed only in singlet, socks and a belt with his sheath-knife, ready for all emergencies. At first they were concerned about his wild and shaggy looking state and what seemed to be gibberish speech, taking him to be an escaped lunatic. They were reassured after he threw his knife away and realised that he was speaking half-English, half-German. They gave him food and brandy and some clothing and were then able to gain information about the wreck. Some of the men took him to Rivernook, a nearby guest house owned by John Evans, where he was cared for. Stansmore and Dickson rode off to try and summon help. Others went down to the site of the wreck. Messages for rescuing the rest of the crew were sent both to Port Campbell for the rocket rescue crew and to Warrnambool for the lifeboat. The S.S. Casino sailed from Portland towards the scene. After travelling the 25 miles to the scene, half of the Port Campbell rocket crew and equipment arrived and set up the rocket tripod on the beach below the cliffs. By this time the crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. Mr Tregear from the Rocket Crew fired the line. The light line broke and the rocket was carried away. A second line was successfully fired across the ship and made fast. The anxious sailors then attempted to come ashore along the line but, with as many as five at a time, the line sagged considerably and some were washed off. Others, nearly exhausted, had to then make their way through masses of seaweed and were often smothered by waves. Only 14 of the 24 who had remained on the ship made it to shore. Many onlookers on the beach took it in turns to go into the surf and drag half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody. (Peter Carmody was also involved in the rescue of men from the Newfield.) Arthur Wilkinson, a 29 year old land selector, swam out to the aid of one of the ship’s crewmen, a carpenter named John Plunken. Plunken was attempting to swim from the Fiji to the shore. Two or three times both men almost reached the shore but were washed back to the wreck. A line was thrown to them and they were both hauled aboard. It was thought that Wilkinson struck his head on the anchor before s they were brought up. He remained unconscious. The carpenter survived this ordeal but Wilkinson later died and his body was washed up the next day. It was 26 year old Bill Robe who hauled out the last man, the captain, who had become tangled in the kelp. The wreck of the Fiji was smashed apart within 20 minutes of the captain being brought ashore, and it settled in about 6m of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach and their coffins were made from timbers from the wrecked Fiji. They were buried on the cliff top above the wreck. The survivors were warmed by fires on the beach then taken to Rivernook and cared for over the next few days. Funds were raised by local communities soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Masters Certificate was suspended for 12 months. At the time there was also a great deal of public criticism at the slow and disorganised rescue attempt to save those on board. The important canvas ‘breech buoy’ or ‘bucket chair’ and the heavy line from the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue: they had been delayed at the Gellibrand River ferry. Communications to Warrnambool were down so the call for help didn’t get through on time and the two or three boats that had been notified of the wreck failed to reach it in time. Much looting occurred of the cargo that washed up on the shore, with nearly every visitor leaving the beach with bulky pockets. One looter was caught with a small load of red and white rubber balls, which were duly confiscated and he was ‘detained’ for 14 days. Essence of peppermint mysteriously turned up in many settlers homes. Sailcloth was salvaged and used for horse rugs and tent flies. Soon after the wreck “Fiji tobacco” was being advertised around Victoria. A Customs officer, trying to prevent some of the looting, was assaulted by looters and thrown over a steep cliff. He managed to cling to a bush lower down until rescued. In 1894 some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. (The pocket watch came with 2 winding keys, one to wind it and one to change the hands.) Years later Bill passed the watch to his brother-in-law Gib (Gilbert) Hulands as payment of a debt and it has been passed down the family to Gilbert Hulands’ grandson, John Hulands. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the 200m high cliffs overlooking Wreck Beach, west of Moonlight Head, paying tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Amongst the artefacts salvaged from the Fiji are bisque (or china) toys, (including miniature animals, limbs from small bisque dolls), rubber balls, a slate pencil, a glass bottle, sample of rope from the distress rocket and a candlestick holder. These items are now part of the Fiji collection at Flagstaff Hill Maritime Museum, along with Captain Vickers’ pocket watch and Julius Gebauhr’s sheath knife. This toy monkey is classified as Fiji 5 on the SWR Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The Fiji collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Ceramic toy monkey salvaged from the wreck of the Fiji. The monkey is in a seated pose with its arms around its knees. This solid, moulded toy is made of bisque (sometimes described as bisque or porcelain) and the material is an orange colour. The surface is slightly pitted.ceramic, china, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, porcelain, moonlight head, wreck bay, bisque, toys, miniature animals, monkey, ornament

During the Victorian era, the period (1837-1901) in which Queen Victoria ruled England. The queen’s influence was felt throughout the world, including in the United States and Australia where Victorian values shaped society and style, especially in home décor. This period’s distinct style presents an eclectic mix of highly ornamented furniture, wallpaper, and knick-knacks. Particularly in terms of furniture, and the characteristic floral patterns and rich, contrasting colours, wall hanging that enjoyed the height of its popularity during the Victorian era were of the spiritual type with an either embroidered or punched paper religious motto or bible quote. Mottoes were commonly hung high up on the wall or in an area of prominence, to remind the viewer of their important message, such as “He Leadeth Me” and “Honesty, Industry, and Sobriety.” Short and pithy, they embodied the ideals of Victorian society. Technological advances contributed to the boom of religious mottoes whereas before the Industrial Revolution home décor of this sort was handmade and therefore minimal, now consumers could purchase and fill their homes with all sorts of mass-produced ephemera goods similar to the subject item. Many of these mass-produced period pieces still exist today, often in their original frames, ceramic, or paper formats. Flagstaff maritime museum has many examples of mottoes on display that serve to reflect the period in which values of home, faith, and Christianity were very prominent in everyday Victorian society.An item that reflects the social values and attitudes of the late Victorian era that was used to promote good Christian and moral values in many households. These items of decoration were very popular at this time and the subject item is significant as it gives a snapshot into the social norms of past generations. Wall decoration white china with relief circular hanging pieces, paper folds pinned back to reveal words Paper is pinned by metal studs. Paper folds create star shape. (set of 2)Watch and Pray and Come Unto Meflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, paper wall decoration

During the Victorian era, the period (1837-1901) in which Queen Victoria ruled England. The queen’s influence was felt throughout the world, including in the United States and Australia where Victorian values shaped society and style, especially in home décor. This period’s distinct style presents an eclectic mix of highly ornamented furniture, wallpaper, and knick-knacks. Particularly in terms of furniture, and the characteristic floral patterns and rich, contrasting colours, wall hanging that enjoyed the height of its popularity during the Victorian era were of the spiritual type with an either embroidered or punched paper religious motto or bible quote. Mottoes were commonly hung high up on the wall or in an area of prominence, to remind the viewer of their important message, such as "Home sweet Home “He Leadeth Me” and “Honesty, Industry, and Sobriety.” Short and pithy, they embodied the ideals of Victorian society. Technological advances contributed to the boom of religious mottoes whereas before the Industrial Revolution home décor of this sort was handmade and therefore minimal, now consumers could purchase and fill their homes with all sorts of mass-produced ephemera goods similar to the subject item. Many of these mass-produced period pieces still exist today, often in their original frames, ceramic, or paper formats. Flagstaff maritime museum has many examples of mottoes on display that serve to reflect the period in which values of home, faith, and Christianity were very prominent in everyday Victorian society. For more information on the Giles collection see Acquisition section this document: An item that reflects the social values and attitudes of the late Victorian era that was used to promote good Christian and moral values in many households. These items of decoration were very popular at this time and the subject item is significant as it gives a snapshot into the social norms of past generations. The Giles family collection is of additional social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us an additional view into what domestic life was like in early colonial times prior to Federation.Wall decoration, framed handmade embroidered tapestry with the woven inscription, Frame has velvet cover. This item is part of the Giles CollectionHome Sweet Home, in gothic scriptflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, soft furnishing, wall decoration, home sweet home, wall hanging, handmade wall hanging, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century handcraft, mrs vera giles