A5 size yellow ring folder with black Apimondia symbol & white honeycomb pattern 188 pagesAttended by Gretchen Wheen

The card states that the PFA "is part of the Presbyterian Church of Australia and this Church is within the Fellowship of the world-wide Church"E2235.1.1 & E2235.1.2 : Presbyterian Fellowship of Australia single-sided white card with blue PFA symbol and text.E2235.1.2: "30/11/41 Janet Lumsden"presbyterian fellowship of australia, presbyterian church of australia

Both the Page Commander's and Deputy Page Commander's tables were covered with a table cloth. The PC's table held the gavel, the Seal of the Court, the General Mark of the Order and an open Bible. The DPC's table held a gavel, the roll book and the cash book. [Information taken from the Methodist Order of Knights Rigtual of the Page's Degree for use in the Junior Court Ceremonies 1952 publication].Methodist Order of Knights pale blue oblong cotton table cloth with the MOK symbol in one corner.methodist order of knights

The tie pin was part of the MOK dress uniform and was worn in the middle of the plain dark blue tie.Gilt and enamelled MOK tie pin. The shield shaped MOK symbol is dark and light blue enamel."MOK"methodist order of knights

These matches are part of an Australian ration pack, possibly from 1940s. Ration packs are provided to soldiers and contain daily necessities such as food, matches and tobacco. These items were found together in a showcase at Dandenong RSL, suggesting that they came from a single ration pack.Ration packs are significant as they represent the daily life of military personnel.Box of matches with green label. Label has army symbol of kangaroo and crossed yellow swords in yellow. Australian Made Brymay Matches E2994 / Contents 47matches, ration, military, australia

metal handle lion head on pummel Gurkha symbol on leather scabbard with engravings missing sharpening knives

Two of a set of Australian Catholic school readers c. 1908. This books were produced for Catholic schools under the direction of Bishop Higgins of Ballarat in the early twentieth century. They reflect the culture of Irish Catholic Australians in design work and content.Cloth bound primary readers, covers block printed with symbols representing Australia, Ireland and the Catholic church.schoolbooks, catholic, irish, higgins, ballarat.

The plaque is made of red wood with a large unit symbol of Royal Regiment of Fusiliers, it also contains a stand

7 RAR plaque with the number 7 on the top right corner, the RAR symbol is fixed of the wooden plaque

The City of Sunshine symbol is fixed to the centre of the plaque, it was presented to the RVR in the Freedom of entry on 12 February 1994

Poster displaying WW1 Distinguishing badges colours and patches of the AIF. These colour patches identified units and formations of the Australian Army which fought during World War 1Poster is a tribute to the soldiers of WW1Carved timber framed poster with rising sun crest with flags and columns of coloured symbols and shaped badges.The Great War 1914-1918 Colours & Patches Distinguishing Badges of the Australian Imperial Forcesww1, great war, aif, colours & patches, distinguishing badges, 1914-1918

Certificate of appreciation dated 30/6/1946 presented to Wangaratta Comforts Fund by RSS & AILABlack plastic frame containing certificate with black and red writing below two symbols and picture of a buildingThe Returned Sailors Soldiers and Airmen Imperial League of Australia Presented to Wangaratta Comforts Fund in grateful appreciation of meritorious service rendered to the RSL War Service Fund during 1939-1945.comfort fund, ww2, wangaratta, certificate

Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. Letter written by John Edwards acknowledges the work done by VIOSH over the previous 21 years. It outlines the numerous people who have been through the Graduate Diploma in Occupational Hazard Management who are working in the Airlines and Flight Safety Investigations. He has also included the contact information for members of the Australasian Aerospace Industry Occupational Health and Safety Association and Aerosha Address List.Seven A4 type written pages - 4 white and 3 pinkVIOSH symbol and address' Aviation Safety Services address and symbol. Signatures of Steve Cowley and John Edwards. July 1999. Received Stamp on letter.viosh, victorian institute of occupational safety and health, aviation safety advisory services, steve cowley, john edwards, australian airline industry, jacqui wells, ian morgan, geoffrey dell, chris booth, robert sweeting, taa, dennis else, eric wigglesworth, derek viner, graduate diploma in occupational hazard management, university of ballarat

A tall slim clear glass bottle with a pump dispenser. It has a green paper label. It was used for holding coffee and chicory. it has a picture of a kookaburra on the label and recipes for iced, molk and white coffee.Base - symbols - glass manufacturers 77 X813 14590

This type of inkwell would have been used in public places such as banks, offices and on ships.Ink well, pewter, capstan design.Flat disc with ink well and pen/quill holders in centre, hinged lid to cover removable well.White ceramic ink well included. Base, well and lid are all decorated with concentric rings. Maker's stamp on base. Circa 19th century. Stamped into base "MADE IN ENGLAND" and another indentifyable symbol. warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, ink well, pewter ink well, writing equipment, stationery accessory, communication

Re-issue of Medal c1999Ctrcular wlth a iiiseO rim and another rim 1mm inside the first containing 60, equidistant raised dots. The bottom half of the medal contains two crossed rifle bullets 18mm long above which is a 15mm diameter polar projection map with Korea, encircled by two olive branches. itlain except for the inscription in 3mm Korean characters ' ' (Korea) around the lower: half of the medal and ' ' (War Service Medal) from top centre to bottom.Nato Korea Bronze Medal with blue white red and yellow ribbonNato symbol with crossed bullets reverse inscribed in Koreanmedal, badge, medallion

Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. Certificate presented to Steve Cowley for twenty years of service to the University of Ballarat (including predecessor institutions). Signed by David Battersby, Vice-Chancellor, 2006A4 size with blue, gold and maroon coloursSymbol of the university Signature of David Battersby October 2006viosh, victorian institute of occupational health and safety, university of ballarat, steve cowley, david battersby, vice-chancellor

The flag represents The Mission to Seafarers worldwide organisation. From about the year 2000 particular flag was once flown from Flagstaff Hill's masthead on top of the turret on the St Nicholas Seamen's Church but this practice ceased around 2010 for safety reasons. The Australian beginnings were in 1856 when the Church of England (Anglican Church) established the ‘Society for Promoting Missions to Seamen Afloat, at Home and Abroad. Lord Shaftesbury was the first President and Mr William Kingston was the first Secretary. Its Constitution declared: (1)) the Object is the spiritual welfare of the seafaring classes at home and abroad. (2) In pursuance of this Object, Society will use every means consistent with the principles and received practice of the Church of England. Mr Kingston’s wife and sister designed a flag to clearly depict the Society’s Objects. It depicted the first of the three angels in Revelation 14, who possessed ‘an eternal gospel to proclaim to those who dwell on the earth, to every nation and tribe and language and people. The ‘Flying Angel’ (the angel of Revelation) became the official logo of the Society and gained great popularity. In July 2000 the Missions to Seamen changed its name to the Mission to Seafarers to better reflect the group's function, an unbiased society that cares for all who earn their living at sea. The Logo was modernised and simplified, the word changed to 'seafarer' to be gender-neutral. The angel logo no longer holds a book (Bible). The organisation states: “The Mission to Seafarers is an Anglican organisation ... The Mission offers fellowship and a warm welcome in centres where seafarers can relax away from their ships, meet local people and contact their homes, from ports around the world. The Mission provides and promotes” … “The Mission to Seafarers now has a presence in 200 ports in 50 countries worldwide. This makes us the largest sea-port-based welfare organisation in the world. We provide support to seafarers 365 days per year, regardless of their rank, nationality, gender or religion” This flag was a gift from the Mission to Seafarers Victoria at the time of the organisation's change of name from the Missions to Seamen. It was flown from the Masthead on top of the turret on the St Nicholas Seamen's Church at Flagstaff Hill from the years 2000 to around 2010. The donation of this flag signifies the ongoing association between the historical organisation and St Nicholas Seamen's Church building at Flagstaff Hill', which displays an extensive collection of furniture and furnishings from that organisation's Williamstown branch. The design on the flag is an example of several updates of the flag over the organisation's lifetime.Flag, fine linen, The Mission to Seafarers. Rectangle of blue fabric with white text around white flying angel logo. Flag has a plastic hook on top of the halyard.Printed "THE MISSION TO SEAFARERS" and logo of FLYING ANGEL symbolflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, missions to seamen victoria, mission to seafarers, flying angel’s club, st nicholas seaman’s church williamstown, mission to seafarers flag, flag, missions to seamen, turret

Serving dish, oval, faded blue transfer pattern with a row boat and persons and multi-storey buildings and wooded area near a shore over a white background. Marked "Rhino" and symbol. Also "Crownfield" and "12/77" flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, oval dish, serving dish, platter, dinner ware, crockery, crownfield pottery

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

Zilles Printers was begun by Lewis Zilles in the early 1930s. It was in McKenzie Street Ballarat. His son Jeffrey also became a printer - letterpress, offset and screen printer. The business became Zilles Printers/Graphics and was in Armstrong Street and later Bell Street Ballarat. The Ministry for Economic Development, Government of Victoria, awarded the Zilles family company the certificate for Approved Decentralized Establishment in the category of Printing and Publishing for the benefits provided pursuant to the Government's Decentraization Program. Dated 28th September 1982.Buff coloured card. Scroll edging, brown and red print.Symbol of government, red seal, signature. Certificate No 4525zilles printers, ballarat, minister of economic development, government of victoria, decentralized industry, award

Shunde Polytechnic is in district of Guangdong, Chine. District has an age-old tradition of being the centre of trade, textile industry.Glass object with etching of a building and name of institution.Chinese writing: Shunde Polytechnic in English. Symbol of institution.shunde polytechnic, china, guangdong sheng, trade, textile industry, ornament, etched glass

1956 Season depicted by a collection of newspaper articles and personal entriesA collection of newspaper articles depicting Carlton's 1956 season in an Olympic Year for Melbourne. 1956 Summary After losses in the first two rounds to Essendon and Melbourne (two of the 1955 finalists), Carlton managed to win 6 games in a row between rounds 3 and 8. The Blues would have won 8 in a row if not for a 1 point loss to Geelong in round 9. After round 10, the Blues sat fourth on the ladder, with a game in hand over fifth place. Our strong mid-season form deserted us, and the club could only manage a 3 win, 1 draw and 4 loss record in its last 8 games. Going into the last game of the season, the Blues still clung onto 4th place on the ladder, half a game in front of Footscray. With the last game of the season being the Dogs at Princes Park, the Blues had a strong chance of playing finals football. Unfortunately, Footscray narrowly outscored Carlton in every quarter, resulting in a 17 point win and leapfrogging the Blues for 4th spot. The season did point to the continued improvement in the club's playing fortunes, showing year-on-year improvement for the club since the low point of 1954. This improvement would continue in 1957, with the club making the finals for the first time since 1952. Brown Covered Exercise BookOlympic Symbol & Carlton Emblem both on front cover

Olympic Games Melbourne 1956 Opening Ceremony. Green paperback Official Souvenir Programme. Soft cover with scene of Melbourne from the Yarra River. Olympic Rings at Top, yellow Opening Ceremony title. Olympic symbol: cities, altos, forties on the back cover.olympic games, booklets, olympic games 1956

Vestment worn at St Brigid's Church, Crossley. 20th CVestment worn at St Brigid's Church, Crossley. 20th CWhite synthetic stole.Symbol of cross machine embroidered in orange, yellow and blue. ecclesiastical clothing, vestments, religious objects

A grand cement rendered masonry structure of a single central arch flanked by wide piers 20metres in width, spanning the roadway, and 18 metres high. Crowned by the 'Rising Sun' symbol of the Australian Commonwealth Military Forces beneath which the words Avenue of Honour and Victory are written prominently across the arch. Erected in 1920, the Arch marks the beginning of s 22 kilometre stretch of 3728 trees, each one a memorial to men and women in order of enlistment for World War 1. On 2 June 1920, the Prince of Wales opened the Arch and was presented with a pair of silk pyjamas embroidered with Australian emblems. Each of the 500 'Lucas Girls' had put in a stich. The Arch of Victory, located at the entrance to the Avenue of Honour Ballarat, was erected in 1920 as a memorial to the people of the Ballarat and the surrounding district who enlisted in World War I. The Avenue of Honour, with the Arch of Victory, was officially opened by the Prince of Wales on 3rd June 1920. The single central arch is flanked by wide piers 20 metres in width, spanning the roadway, and 18metres high. The monument is of historical significance to the people of BallaratCement rendered masonry arch structureCrowned by the 'Rising Sun' symbol of the Australian Commonwealth Military Forces beneath which the words Avenue of Honour and Victory are written prominently across the arch.arch of victory, avenue of honour ballarat, australian commonwealth military forces, world war i, prince of wales, lucas girls

Pipe smoking has been in vogue for centuries, and in Australia it was a symbol of the "discerning smoker" such as the landed gentry or men of professional status. This pipe, of the Standard Canadian style, would have emigrated to Australia with its owner, a reasonable young professional or executive of the Hudson Bay Tobacco Company in the late 1800s or early 1900s. It is the type of pipe well suited to a harsh rural backdrop and with its owner found the Kiewa Valley a more relaxed environment than the Canadian Indian locations. The value of this pipe to the original owner, who would have sealed many trade contracts during the Canadian Indian smoke rituals In the late 1800s, is indicated by the long voyage to Australia and the Kiewa Valley. However with the health related restrictions placed on public smoking in the early 2000s, these tobacco pipes were not immune from the legislation, and even though the pipe smoke was not as offensive as cigarette smoke it still came under the umbrella of smoking. Pipes were also used in the process of inhaling illicit drugs i.e. marijuana, but this use was limited to a very few and not with this pipe. Smoking in the second millennium is being phased out as a social habit in Australia but may affect the few "private" smoker and has, as the United States prohibition era (alcoholic drinks) did, spawn an illicit trade in cheap contraband tobacco. Pipes such as this item show that smoking was not only part of the lifestyle of the era but also that it was part of a ritual (especially to the Indians of the Canada Hudson Bay region) that sealed a brotherhood not only socially but also politically and economically.This type of pipe lends itself well to the rural setting of the Kiewa Valley and although it is a very exclusive pipe it blended into the tobacco industrial environment of the Kiewa Valley and its surrounding districts. The Kiewa Valley region was up until the late 1900s part of the Australian Tobacco industry and the levels of men smoking pipes was enhanced by the readily supply, "off the fields", of tobacco leaves and the attitude to city based smoking restrictions was one of resentment.This pipe has a straight shank and stem and its style is 'standard Canadian'. The pipe has a permanent filter and a stainless steel band with the initials of the Hudson Bay Tobacco Company and its seals stamped on it.. The bowl and shank are one piece of appropriate shaped wood. The bit and bore are made from bakelite (dark brown in colour). The pipe is fashioned in the form of the clay pipes used by trappers, in the late 1800s early 1900s. It has a "rest" lug at the bottom of the bowl similar to clay pipes. This pipe has its own pipe case with wood reinforcement running the entire pipe shaped contour.On the stainless steel at the mortise and tenon junction is stamped "HP" and below that are stamped symbols of a ship's anchor, a lion and a tobacco leaf.tobacco, pipe smoking, smoking accessories

This book was a gift from Mrs. Cornish to her husband Nefiea, given to him on September 8th, 1884. It became part of the original furnishings of the St Nicholas' Mission to Seamen's Church at 139 Nelson Place, Williamstown, Victoria, and was used in services held there. The Church was operated by the Mission to Seamen organisation. The book is now part of Flagstaff Hill's St Nicholas Seamen’s Church collection. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen was an Anglican charity that served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This hymn book is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The connection of this book to the Mission to Seamen and to the Ladies Lightkeepers’ Auxiliary highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. The brown leather-covered bound book has an embossed inscription on the spine and an impressed cross symbol on the front cover. It has red leaf pages (681 pages). The music and words were compiled and arranged by editor William Henry Monk, and published in London. This Revised and Enlarged edition was printed in London by William Clowes & Sons Ltd. The book's title is "Hymns Ancient and Modern". The inscription shows it was given as a gift in 1884. It has since been added to our St Nicholas Seamen's Church Collection. Spine: "HYMNS AND TUNES" Front cover: symbol [cross] Fly Page: "HYMNS ANCIENT AND MODERN FOR USE IN THE SERVICES OF THE CHURCH WITH ACCOMPANYING TUNES COMPILED AND ARRANGED UNDER THE MUSICAL EDITORSHIP OF WILLIAM HENRY MONK, PROFESSOR OF VOCAL MUSIC IN KING'S COLLEGE, LONDON." , "Revised and Enlarged Edition", "Young men and maidens, old men and children, praise the Name of the LORD" Inside cover in handwriting: "Nefrea (?d) Cornish from his wife, September 8th 1884"flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, st nicholas seamen’s church, williamstown, missions to seamen victoria, worship service, worship music, hymn book, music book, william clowes and sons, st nicholas seamen's church, london, hymns ancient and modern, revised and enlarged edition, 1884