Showing 443 items
matching out of the fire
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Melbourne Legacy
Document, Honours and Awards - DSO for Captain Stanley Savige 1919, 1919
A photocopy of the Honours and Awards published in 1919 that included Legatee Stan Savige receiving his DSO from General Sir W R Birdwood. It refers to his work protecting the Assyrian refugees in Persia from the Turks. Text includes: "In pursuance of the authority delegated to me by His Imperial Majesty, the King Emperor, I make the following awards for gallantry and distinguished service in the field:- To be Companion of the Distinguished Service Order. Captain Stanley George SAVIGE, MC, Australian Imperial Force. For conspicuous gallantry and devotion to duty. He was in command of a small party sent out to protect the rear of a column of refugees who were being hard pressed by the enemy. By his energy, resource and able dispositions the hostile troops, many of whom were mounted, were kept at a distance, although in greatly superior force. He hung on to position after position until nearly surrounded, but on each occasion extricated his command most skilfully. His cool determination and fine example under fire inspired his men and put heart into the almost panic-stricken refugees, thereby averting what might have been a very serious situation."A record of the war service of Legatee Stan Savige and the recognition he received.White foolscap photocopy of General Sir Birdwood awarding the DSO to Legatee Savigestan savige, service award -
Whitehorse Historical Society Inc.
Article, Arson not ruled out in school fire
... Arson not ruled out in school fire.... Mitcham melbourne Article Article Arson not ruled out in school ...A $700,000 fire at Mitcham Primary School may be linked to an arson attempt at Blackburn Secondary College.A $700,000 fire at Mitcham Primary School may be linked to an arson attempt at Blackburn Secondary College. Music equipment and computers were lost and setting up of a new science room has also been lost. Mullauna College has offered use of rooms until next year.A $700,000 fire at Mitcham Primary School may be linked to an arson attempt at Blackburn Secondary College.schools, mitcham primary school, no. 2904, cole, alan, blackburn secondary college, mullauna secondary college -
Ballarat Heritage Services
Photograph - Colour, Cutty Sark vessel and exhibition, Greenwich, England, fire buckets, 6 November 2016
The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl, J & G Meakin, Late 19th or early 20th Century
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 -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl, Late 19th or early 20th Century
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 -
Clunes Museum
Photograph
MEMBERS OF THE CLUNES V.F. BRIGADE..1 PHOTOGRAPH postcard OF CLUNES VOLUNTEER FIRE BRIGADE. FIRE WAGON IN CENTRE OF PICTURE AND BUILDINGS IN BACKGROUND. .2 - .5 copies of above photograph .6 Framed enlarged copy of above photographon back of postcard: Clunes 12/4/06 Dear Gretchen Your welcome note to hand, glad that you are all well and hope to see you soon. Father and Clare and talking about paying you a visit so look out for them. Wishing you all a happy easter Fritz Card addres to Mrs G Jacobs, Spencer Crossing, Ballarat Eastlocal history, photography, photographs, fire brigade -
Flagstaff Hill Maritime Museum and Village
Instrument - Fob watch, 1882
The watch was given to William James Robe by the captain of the barque Fiji as a token for helping to save his life and that of the crew on September 6th 1891 when the steel barque Fiji had foundered off “wreck beach" near Moonlight Head Warrnambool during a voyage from Hamburg to Melbourne. William or Bill as he was called was the one who had hauled out the last man, the captain, after he had become tangled in the kelp. William along with many other onlookers on the beach at the time had taken it in turns to go into the surf and drag half-drowned seamen to safety. These rescuers along with William James Robe, included Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody. Years later Bill passed the watch on to his brother-in-law Gilbert Hulands as payment of a debt. The grandson of Gilbert Hulands, John Hulands, has donated this watch to Flagstaff Hill Maritime Museum. The Fiji 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. 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 2:30 am, 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 Fiji struck rock only 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 loose with his sheath-knife when it becomes tangled in kelp. He rested on the beach a while then climbed the cliffs in search of help. At about 10 am on Sunday a party of land selectors - including F. J. Stanmore, 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. They found Gebauhr lying in scrub and a poor state, bleeding and scantly dressed and with a sheath-knife. At first, they were concerned about his appearance and gibberish speech, taking him to be an escaped lunatic. They were reassured after Gebauhr threw his knife away realising 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 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. One of the rescuers 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 who was attempting to swim to shore. Two or three times both men almost reached the shore but were washed back to the wreck, a line was thrown to them. It was thought that Wilkinson had struck his head on the anchor during the rescue and had remained unconscious, the carpenter survived this ordeal but Wilkinson died and his body was washed up the next day. The wreck of Fiji smashed apart within 20 minutes of the captain being brought ashore, and it finally settling in 6m of water. Of the 26 men on Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach. They were buried on the clifftop above the wreck. Captain Vickers was severely reprimanded for his mishandling of the ship and his is 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. The 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 cliff. He managed to cling to a bush lower down until rescued. 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. 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 (S 259). The collection also represents key aspects of Victoria’s shipping history and its items offer the potential to interpret maritime historical events and social history of the time. Along with the potential to yield information that will contribute to an understanding of Victoria’s cultural history.Sterling silver fob watch Fusee movement face has a white background with black Roman numerals on it. The minute hand is gold coloured with a leaf shape. Seconds dial is inset at position 6, with Arabic numerals around it. Watch has machine engraving flower pattern front and back. The spherical winder has a number and a symbol on the upper face and a hole through the centre, the ring for the chain is missing. Back of a the watch opens to reveal a concave cover with a winding hole, which has a border of overlapping crescent-shapes. Inside cover a diamond with initials “JR”(John Rotherham) inside, a date letter “G” (1882) with a Lion Passant (Sterling Silver) also 3 numbers “8 1 9“embossed beside each other. The clock face has “Rotherhams / London” printed on it. The winder is also marked with a maker and sterling silver mark. “Y” and numbers “688” “3 CI A” “3309” “819” “555 A” and other numbers including a set engraved around the edge possibly jewelers marks who did repairs or maintenance on the item over the years.1891, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwrecked artefact, flagstaff hill maritime village, shipwreck coast, warrnambool, fiji, pocket watch, william vickers, william robe, bill robe, fiji watch -
Hume City Civic Collection
Booklet - Policy guidelines adopted by Shire of Gisborne, Rebuilding Macedon and Mt. Macedon, August 1983
A booklet outlining the policy guidelines adopted by Shire of Gisborne Council to rebuild the community after the 1983 bushfires.A 27 page booklet outlining policies adopted by the Shire of Gisbourne for rebuilding the local community after the 1983 bush fires. The cream pages have sepia photographs throughout the booklet of a variety of buildings and sites throughout the area that were affected by the fires.non-fictionA booklet outlining the policy guidelines adopted by Shire of Gisborne Council to rebuild the community after the 1983 bushfires.mt. macedon, macedon ranges, ash wednesday fires, bush fires -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl
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 -
Flagstaff Hill Maritime Museum and Village
Domestic object - Jug
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 form of the jug has been in use for many centuries.Stoneware jug. Two tone brown glaze with pierced lip behind spout. Spout chipped.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, jug, ceramic jug -
Harcourt Valley Heritage & Tourist Centre
photograph, Cutting timber
Ken Peeler (at head of horse), Ken's father, Ern Peeler and brother Don Peeler (sitting on load) with dray-load of 'five-foot wood'. Peeler's Road, Barkers Creek. Photographed by Alice 'Girlie' Adams, approx. 1942. Families living at Barkers Creek and Woodbrook obtained contracts to supply 'five foot wood' to Thompson's Foundry and Castlemaine Woollen Co. Rows of wood, neatly stacked, 10’ high X 5’ wide covered many acres at each factory, ready for use in firing the boilers. Much bushland was thus cleared for orchard or pasture. The horse depicted is fully harnessed with bridle, eye-winkers and reins, dray collar, hames, shaft saddle with girth & pole straps and breeching straps. Neatly stowed under the dray shafts can be seen the props, used to keep the dray horizontal when the horse was to be taken out of the shafts. The dray was almost entirely constructed of wood, with steel tyres on the wheelsA reminder of the significance of local sources of fuel to some of Victoria’s biggest manufacturing concerns as well as depicting a major source of employment involving minimal capital. A B&W photograph depicting 2 men and a boy with a horse-drawn dray filled with wood. Photograph taken by Alice 'Girlie' Adams in 1942. Ken Peeler, Ern Peeler and Don Peeler appear in the picture along with a horse with no known name. -
Whitehorse Historical Society Inc.
Photograph, Bushfire in Heatherdale
Coloured photo of Bushfire in Heatherdale, 1962. This fire came through from Kinglake, to Warrandyte, to Mitcham, crossing Whitehorse Road and burnt out at Canterbury Road.bushfires, heatherdale, mitcham -
Federation University Art Collection
Ceramic, Woodfired Stoneware Jar by Ben Richardson, c1986
Ben RICHARDSON (1951- ) Born Hobart, Tasmania In 1972 Ben Richadson was awarded a B.Commerce degree in 1972 at the University of Tasmania. From 1978-81 he studied ceramics at the School of Art in Hobart and completed a Master of Art, Design and Environment degree in 2004. Starting out with raku, he was converted to working with local materials and firing with wood by Col Levy, Les Blakebrough and Gwyn Hanssen Pigott, who conducted a woodfiring workshop he attended in 1980. In 1982, he set up the Ridgeline Pottery at Sandford, where he still lives and works, teaching two days a week at TAFE. He was a part-time lecturer in ceramics at the School of Art from 1985-95, and a researcher in the development of Southern Ice porcelain from 1995-97. In 2004, he completed a Master of Art, Design and Environment degree and, in the same year, participated in an international woodfiring workshop and conference in the United States. His work is marked with an impressed 'BR'.Woodfired stoneware jar purchased from Woodfire 86.ben richardson, ceramics, jan feder memorial ceramics collection, gippsland campus, ridgeline pottery, woodfire 86 -
The Beechworth Burke Museum
Tool - Pen, c1880
Given by Isaac Isaacs to his friend, Henry Vandenberg in 1880. Henry Vandenberg was a publican and Dentist. Born in London in 1847, the son of Jacob and Christina. He arrived in the Beechworth district in 1857 with his parents. Henry ran the Victoria Hotel and boarding house at Everton. The next ran Ryans Hotel, Beechworth and in 1884 he took over the Corner Hotel, on the corner of Ford and Camp Streets. He made a brief foray into business as a draper, but sold out in June 1887. Vandenberg made a brief trip to Western Australia after which he undertook training as a dentist, which was the occupation he carried on with until his death. His rooms were situated in Ford Street, next to the Star Hotel (his rooms destroyed by fire in 1905). Vandenberg lived in the de-licensed Vine Hotel which had been run by his father for many years. He was a justice of the peace, a member of the United Shire of Beechworth Council from 1897-1923, being the President in 1912-13, and had the dubious honour of being voted the winner of the 'Ugly Man Competition' at the 'Back to Beechworth' celebrations in 1922. In 1889 he founded 'Vandenberg's Beechworth Brass Band' which was in constant demand for local dances. Henry died on 20th July 1933 as a result of pneumonia. He is buried in the Beechworth Cemetery.Gold retractable pen/pencil. Telescopic, in 3 sections. ring at top for attaching to a chain (?). Bottom section contains 2 slides, raising and lowering one brings a pen holder complete with nib into view, the other a pencil lead holder. Monogrammed 'HV from II.'burke museum, beechworth, sir isaac isaacs, isaac isaacs, henry vandenberg -
Melbourne Legacy
Newspaper, Summer's Times. Lord Somer's Camp, 1977
A newsletter printed at Somer’s Camp in 1977. It reflects some of the activities the campers experienced. There was news of sporting events and winners of contests. Also a crossword and some cartoons. The authors are not identified but could be some of the junior Legatees. Legacy has provided camps for junior Legatees for many years. It started in the early years when Legacy organised outings to the property of Legacy founder, Legatee Stan Savige, who had a place in Balnarring close to the beach. In later years children went to camps around Victoria. Occasionally it was to Lord Somers Camp in Somers. Some of the name mentioned in the text: Chaplain Charles Sligo, Fire officer David McPherson, Games director Peter Johnstone, PR Officer Les Phillips, Bursar Robin Kelly. Also section leaders: Keith Williamson, Peter Chapman, Fraser Zielinski, Andrew Russell, John Jones, Campbell Mathieson, John Higgins, Mark Lane. The editorial explains the aims of the camp. "Lord Somer's Camp sets out not so much to teach a method of life as to instil one by example. This may sound rather ominous, as though you are being brain washed - and perhaps in a way you are. The high-powered pressure which is put on you by Slush and by Group Leaders tries to do in less than a week what would take years by any other means. . . In fact what the pressure does achieve may be quite different for different people. . . Cooperation was discussed yesterday. Many of you have possibly already been forced to see that a group of people can achieve nothing unless they work together. Even after one day on the sports field you would realise tag in an event such as the tug-of-war you will never succeed unless every one works together in perfect harmony. . . The second ideal mentioned above was unselfishness. Nearly every problem in the civilised world today, whether it be war, social unrest, inflation, industrial strife it can be traced back to a selfish attitude on someone's part. An unselfish attitude is a very difficult thing to develop but once obtain can not only do good for the individual but for the whole community. Big Camp tries to establish this attitude on in the new participants at camp by the example of others.It is only when one realises that all the organisation of and running of this camp, and indeed of the whole PowerHouse Organisation, is on a voluntary, unpaid level that it impossible to gain some inkling of the extent of this unselfish example, to understand the amount of effort people will make to continue something they believe in." A record of the camp activities at Somers in 1978.Newsletter published at Somers Camp to highlight activities and attendees.Dated 18 January 1977 on second page.camp, junior legatee outing, lord somers camp -
Flagstaff Hill Maritime Museum and Village
Domestic object - Pot
Modern iron cooking ‘ranges’ were being introduced from the late 18th century, however a vast number of people cooked in open fireplaces, well into the 1800s. Generally they were fitted with iron rods suspended above the fire or ‘cranes’ that could be swung in and out for easier and safer access to the pots that hung from them. These cooking systems may seem rudimentary, but a skilled cook knew how to manage pots, pans, cauldrons and pokers and expose them to the right type of heat by positioning them in various parts of the fireplace. They were also very versatile, enabling multiple cooking techniques – boiling, stewing, frying, roasting, toasting – all at the same time, using different types of vessels and utensils. https://blogs.sydneylivingmuseums.com.au/cook/hearth-fire-cookery/This type of item was used extensively over the centuries over open fires. It is still used in camping.Metal cooking pot with handle designed to hang the pot over an open fire.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, kitchenware, cooking, open hearth cookery -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Photograph - Washing Day at 'Law Muir Den' Mrs J L Smith c1910, c1910
Mrs J.L.Smith and Ada Smith in the backyard of the house Law Muir Den 510 Centre Rd Bentleigh c 1910. . The early settler women usually devoted a whole day to washing as it was very labourious. A fire was lit in a stone pit and a large tub of water boiled. Soap that had been made, usually in the previous Autumn, from fat drippings and caustic soda, was flaked into the tub to form suds. The clothes were moved around in the tub with a long wooden paddle that was also used to lift the clothes out of the tub into another tub of cold rinsing water..Stains were removed by scrubbing soap on the cloth against a scrubbing board. Clothes were wrung by hand or a mechanical wringer and hung on the clothes line to dry. Mary Ann Smith was married John Logan Smith 1860-1932 who at first rented a cottage 'Law Muir Den' & Shed from Mr Box and commenced business as a wood merchant - sawing logs into shorter pieces using one horse to power the saw. He purchased the property, added to the buildings , began trading in fuel and fodder as well and installed a chaff cutting mill powered by 10hp steam engine. The business prospered As Motor transport was increasing 1926 J L Smith built a small Garage on the opposite corner (Woolworths Supermarket 2005) , employed a good mechanic ( Reg Hunt ) and developed another successful business. J.L.Smith was an early settler in East Brighton now Bentleigh and established successful Wood cutting, Grain & Chaff cutting and Motor garage businesses in Centre Road . He was elected Councillor of the Shire of Moorabbin and, with Mary Ann, his family were involved with local Church, Red Cross, and other community organizations.Photograph, Black & White, showing 2 women washing clothes in a large tub, set over a fire in a stone pit, in the back yard. Clothes are hanging from a rope line strung between 2 trees and held up with a wooden 'prop' -
Glenelg Shire Council Cultural Collection
Painting, A S Murray, Tasmanian Coast Scene, n.d
CEMA Art Collection Previously located in History HouseThe painting depicts a large body of water with a shore line in the foreground on the left. Depicted in shades of grey, the calm water features a patch of white in the centre. In the background to the right, is a distant view of a small patch of land covered in trees. Behind the land is an out of focus view of mountains in the distance. The top half of the work features a grey cloudy sky. The work has a gilded ornate frame with cardboard and gold mounts and glass.Front: A.S. Murray Label attached to glass front: Presented to Council in 1984 by A.S. Murray Dunrobin Back: W. Hamer 189 Sturt Street Ballarat VICTORIA BUILDINGS, OPPOSITE CITY FIRE BRIGADE -
Glenelg Shire Council Cultural Collection
Legal record - Insurance Policy - Ellen Vivian, Otway Street, Portland, n.d
Sun Insurance Office Limited Fire Policy, in the name of Mrs. Ellen Greta Vivian, on building at Otway St. Portland, in the sum of £400; premium £2.10.4. Period of insurance 18/11/29 to 18/11/30. Printed form, details typed in. Policy originally in the name of Herbert Leslie Vivian, transfer to Ellen Greta Vivian, typed on to side of policy, dated 18th April, 1935. His name crossed out in red pen, hers written in red pen.vivian family records, house insurance, sun insurance, otway street, portland -
National Vietnam Veterans Museum (NVVM)
Photograph, Planning Discussion
... the emeny, under heavy fire until he had almost run out of fuel... heavy fire until he had almost run out of fuel. Also ...A black and white photograph of Lt Colin Scott DFC,shows Capt Dick Niemela an American Forward Air Controller, the area coordinates, of a large NVA/VietCong force. Scott had flown over the emeny, under heavy fire until he had almost run out of fuel. Also in the group is Lt Mike Meehan 161 (Indep) Recce Flt.photograph, lt colin scott, capt dick niemela, lt mike meehan, 161 recon flt, nva/vc, gibbons collection catalogue -
National Vietnam Veterans Museum (NVVM)
Photograph, Briefing Denis Gibbons
A black and white photograph of Tonkin Gulf, North Vietnam 25th May 1967 Lt Stanley L Masterton briefs Australian War Correspondent, Denis Gibbons, during his visit to the Australian Guided Missile Destroyer HMAS Hobart. the briefing is taking place on the flag deck, where a large set of signal flags are visible in a ready use locker behind them. the ship, was at that time engaging, with ship to shore gunfire, a major "choke point" (an area where the North Vietnamese were preparing war supplies to be shipped to their units in South Vietnam) at the township of "Vinh". Hobart was expecting, at any moment, counted battery fire from North Vietnamese coastal batteries after radar stations on Hainan Island, Near Haiphong Harbour and at Vinh had locked onto Horart's position with very accurate triangular positioning. Lt Masterton was informing Gibbons of the incoming enemy fire and was worried he (Gibbons) was not wearing a helment, gibbons, most respectfully advised Lt Masterton that he could not operate his cameras with a helmet on. Hobart immediately turned and saled, very rapidly, out to sea as the counter battery fire commencedAustralian War memorial negative: Navy 13503photograph, hmas hobart, lt stanley l masterton, denis gibbons, vinh, hainan island, haiphong harbour, gibbons collection catalogue -
National Vietnam Veterans Museum (NVVM)
Photograph, Gun Maintenance 1
... Australian Artillery at Fire Base Betty carry out maintenance... at Fire Base Betty carry out maintenance on their gun durung ...A coloured photograph of Gunners of 104 Battery Royal Australian Artillery at Fire Base Betty carry out maintenance on their gun durung a lull in fighting. The Gunners had a never ending battle against the tropical weather and its affect on the guns.photograph, 104 battery, fire base betty, long bein, tet offensive, gibbons collection catalogue, gunner -
National Vietnam Veterans Museum (NVVM)
Photograph, Gun Maintenance 5
... , Royal Australian Artillery, at Fire Base Betty carry out... Artillery, at Fire Base Betty carry out maintenance on their gun ...A black and white photograph of Gunners of 104 Battery, Royal Australian Artillery, at Fire Base Betty carry out maintenance on their gun durung a lull in fighting. The Gunners had a never ending battle against the tropical weather and its affect on the guns.photograph, 104 battery, raa, artillery, long bien, tet offensive, gibbons collection catalogue, gunner -
National Vietnam Veterans Museum (NVVM)
Photograph, Parade Ground Order 3
A black and white photograph of Gunners of 161 Battery Royal New Zealand Artillery attached to 1st Australian Field Regiment prepare their gun in parade ground order to carry out a copy book gun drill and firing for visiting NZ politicians (circa Feb 1967) (note ttext is missing at the bottom of the photograph)photograph, 161 battery, 161 battery rnza, 1st australian field regiment, gunner, gibbons collection catalogue -
National Vietnam Veterans Museum (NVVM)
Poster - Poster, Information Board, 2nd Battalion Royal Australian Regiment
Three piece Poster, Information Board. Left on dark green background with yellow Corps Emblem with white text on the history of Vietnam during their 1st and 2nd tour. Centre section there is a coloured photograph of four soldiers standing in a field and four black and white Photograph to the right of the board of soldiers patrolling and resupplying with helicopter. On the right on a dark green background is a Roll of Honour to the many soldiers who lost their lives in Vietnam.2 RAR: This photo was taken by Elvon King of Delta Company in September of 1967. This photo was chosen without the knowledge of the historical significance of the shot, which proved to be very momentous. For within a very short time (about 30 seconds) of the photo being taken a wayward rocket from a U.S. gunship landed amongst this group of men in the photo, resulting in three of them being killed and forteen being wounded. Elvon King was one of the wounded. The three men in the photo are left to right Dennis (Dave) Enright who lost a and foot in the incident. Harry Leggett who received shrapnel wounds, and Stan Radomi who was killed outright. A very poignant moment in time. these thoughts about the incident from Wally Musgrave was one of those severly wounded at the time. What could have been a sunny afternoon at a Newcastle or Bondi Hotel or beer Garden..... After what could have been a week of patrolling, it was back inside the wire to scrub up and top up on fluids. Next morning, at 9.00, we went out side of the wire for a fire power, demonstration to satisfy a visiting General. The sun was shining, no seating, grass wasn't cut but we were young and so we thought bullet proof. then someone asked for the old Iroguois gun ship which had been firing rockets at a dead tree to be swung around to fire rockets over our heads. Why?? I haven't given "why" that much thought, but the 1 metre long port side rocket tumbled down amongst us and I'm sure everyone who was there can close their eyes and still see it today. This tumbling rocket landed where these three mates were standing amongst 11 and 12 platoon's young soldiers, chatting in the sun, then we were sailing through the air. I didn't see the devastation myself. I was under bodies. As first Dustoff priority we were off to 36 Evacuation Hospital at Vung Tau. There were two doos, one to the Morgue and one at the Hospital. Lucky me. I went through the Hospital door. eight major operations at once. three dead, forteen wounded and nothing on record!! Yeah it was a lovely Sunny Day at Nui Dat., we'll leave it at that! We can't change yesterday. I'm just another Nazho.poster, information board, 2 rar, elvon king -
Mission to Seafarers Victoria
Painting, RMS Queen Elizabeth, 1971
... , fire broke out aboard under unexplained circumstances..., fire broke out aboard under unexplained circumstances ...RMS Queen Elizabeth that sailed primarily on the North Atlantic Ocean from 1939 to 1968 for the Cunard Line , later owned by the Queen Corpration and then the Seawise University. Queen Elizabeth was a slightly larger ship (than the Queen Mary) , the largest passenger liner ever built at that time and for 56 years thereafter. She also has the distinction of being the largest-ever riveted ship by gross tonnage. She first entered service in February 1940 as a troopship in World War II, and it was not until October 1946 that she served in her intended role as an ocean liner. With the decline in popularity of the transatlantic route, both ships were replaced by the smaller. Queen Elizabeth was sold to a succession of buyers, and finally was sold to Hong Kong businessman of the Orient Overseas line in 1970. In 1972, whilst she was undergoing refurbishment in Hong Kong harbour, fire broke out aboard under unexplained circumstances, and the ship was capsized by the water used to fight the fire.Marine artLong framed unglazed landscape format painting predominantly depicting in foreground an ocean liner painted black hull and white superstructure with two funnel stacks painted red with black trim, under full sail against a blue sky. The back of the painting is covered with brown paper in places damaged. Hanging cord missing . Remnant Brown paper backing.at lower right corner single uc word in white paint : "CV WRIGHT (artist symbol of crossed anchors) / 3 ? '71"marine painting, ocean liners, rms queen mary, royal mail ships, p & o steamships, ww2, artwork-paintings, hobbies, bosun, c.v.wright -
Mission to Seafarers Victoria
Drawing - Artist sketch, Gerry Cummins & Jill Stehn Pty. Ltd, 1980
The window in this photograph was commissioned by the Sandringham Yacht Club in conjunction with a Masonic Lodge and work carried out by Gerry Cummins in 1980. In the background is the S.S. 'Kanimbla' built 1935, Belfast for McIlwraith McEacham and was the last large passenger ship built specifically for Australian owners. Designed to carry 400 passengers , she plied her trade around the Southern and Eastern Ports of Australia. In WW2 she was an armed merchant cruiser and served in Indian waters and escorted the 1st convoy out of the Singapore after the Japanese invasion. She later operated in the Pacific after the war and after repatriation duties she was decommissioned and subsequently sold to be renamed 'Oriental Queen' which eventually caught fire and sank. . The small yacht in the foreground refers to the Sandringham YC. Window measurements: 600mm x 900mmShows the link with Freemasonry.Sketch in pencil and ink on cream paper for an arched stained glass window depicting a yacht.Bottom left corner: Proposed Stained Glass Window, Mission to Seamen. (Scale: Full Size) Right Left corner: Gerry Cummingsfreemasons, st peter chapel, flinders street, mission to seafarers, gerry cummins, jill stehn, stained glass window, sandringham yacht club, hearts of oak lodge, yacht, symbols, square, compass, ss kanimbla -
Mission to Seafarers Victoria
Article, A Woman's Melbourne Letter
A detailed description of the Mission and its activities written by a woman: Western Mail (Perth, WA : 1885 - 1954), Friday 13 December 1918, page 34 A WOMAN'S MELBOURNE LETTER. Melbourne, Dec. 4. There is an idea abroad, which as regards Melbourne, at any rate, is quite erroneous, that our sailors are not as well looked after as our soldiers, and that the noble men of the Mercantile Marine are much neglected ! For once, perhaps, my readers will pardon a letter dealing with only one subject, but the steady, unostentatious work done by the Ladies' Harbour Light Guild, in connection with the mission to seamen in Melbourne could not be adequately explained if dismissed in the usual short paragraph. Some of the most prominent names in Melbourne are associated with this guild and with the Mission Chaplain, and Mrs. Gurney Goldsmith, the members have made the Seamen's Institute a real home for those sailors of the Mercantile Marine, who touch our port. What we as a community owe to those men by their heroism in recent hostilities is certainly more understood by this band of enthusiastic workers than by the community generally. By using their unflagging energies, and influence on the sailor's behalf they endeavour to discharge a debt to which in some way or other we could and should all contribute. Even the most casual person can, if he thinks at all, sum up a few of the things our sailors - other than those belonging to our glorious navy - have done for us. On the spur of the moment we remember that those of the Mercantile Marine, are the men who manned our transports, who carried our wheat and wool, to oversea markets; who kept us in touch with our loved ones abroad; who kept the fires going in the furnaces of the great leviathans, bringing our wounded soldiers home again; who never flinched when self-sacrifice was demanded; who cared, with that tenderness, innate in all sailors, for the women and children, when the passenger ships were struck a dastardly blow by the wicked enemy; who, mocking death, gave up life with a heroism all the more heroic because it was always taken as a matter of course! Is it any wonder, then, that the members of the Ladies' Harbour Light Guild make it their business to provide a bright, homelike, spot in Melbourne, where the sailors are always certain of a cherry welcome ashore? The members of the guild are admirably drafted! The 360 non-workers each pay £1 1s. per annum. The workers, of whom there are between 700 and 800, donate 2s. 6d. and school members - it is confidently hoped that gradually all the schools will take an active interest in the mission - 1s. a year. The knights of the guild - as the men members are designated - are responsible for any sum they wish to name, from 5s. a year upwards. Everything is paid for out of these revenues, with the exception of a small grant from the Home Mission Fund - and such is the organisation, and management, that the entire concern is quite free from debt. The Seamen's Church and Institute, where the "Harbour Lights" gleam so brightly, is situated right in the midst of all the bustle and turmoil of the wharves, at the end of Flinders-street. The building, comprising chapel, and institute under the one red tiled roof, is grey stuccoed, with a small tower, from which flaunts the flag of 'The Flying Angel" - the badge of the guild. A visit to the institute makes one fully appreciate the boon the place must be to the voyage worn, weary, sailor. The atmosphere is eminently social in its best sense. While the architecture imparts an elegance, and quiet dignity which soothes by the very subtlety of its charm. With its comfortable furniture, its wealth of flowers, and the happy, wholesome, feminine influence which prevails everywhere, the quality which stands for the magic word "home" abounds. The Chaplain in the course of conversation said: -"We try to make this really a free club for sailors." But the habitues would probably tell you it was far more than that to them. The Institute is excellently appointed, and every little corner seems to have its particular history. It was built after the model of one of the old mission churches in California, and retains something of the old world attraction, while yet it combines all the advantages of modern, practical, conveniences. On entering the door the first thing, one notices is a huge compass, inlaid upon the floor, evidently to indicate one's proper bearings for it points due north - to the chapel! Only one other seamen's mission in the world boasts such a compass. As the sailor swings through the entrance he finds the office on his right, and there is, here, always a smiling face to welcome the shy, or timid, new comer. Quite a real post office is staffed by members of the guild, and all the letters received are listed alphabetically. Therefore, the expectant sailor has just to run his eye down the list, and he can immediately see whether there is a letter for him or not. If he is fortunate, he comes up to the member in charge, who unlocks the box, and produces the longed for missive. The boys are always encouraged to answer letters - and to write them. Often a few words about their mother, and their own home, will provoke a sleeping memory into activity. The writing room is well stocked with paper, envelopes, pens, and ink. The tables are so divided to ensure the utmost privacy, and through a calculated chain of circumstances, many an anxious mother receives a letter from her sailor lad, who, perhaps, might not have written but for these kindly inducements. The central hall - where social evenings are held every other night besides two special concerts a week - is inviting in the extreme. A handsome piano affords opportunity for those musically inclined. The tables are strewn with papers. The walls are bright with pictures, and here, and there, is a carved model, of a ship. One, of especial interest, is a model of "The Roon" carved, and presented by a French sailor. This German vessel will always be remembered in Australia. For it was across her bows that the first hostile shot was ever fired in Australian waters. In the corner is the canteen. It was fitted up entirely from the proceeds of a quotation calendar compiled by one of the members. The sailors may at any time, get a teapot of tea, or a tray of eatables, at a nominal cost. Before the canteen was in existence they had to go out for refreshments! - and sometimes they did not come back! Groups of sailors sit chatting at the tables. Half a dozen Swedes laugh and talk among themselves, for the simple reason they know no other language than their own. Several British sailors cluster about a dark-eyed Welsh lad - a perfect Celtic type - who, although only about twenty years of age, has been the victim of the Hun five times. Mines and torpedoes sank the ships he was in, either in the Channel or off the English coast, four times; and it is to his fifth experience, when the Inverness was wrecked, that everyone is eagerly listening. "We were in the boats eight days," he was saying, "I was pretty well mangled when they picked me up. The sufferings we endured were awful. At last we managed to reach Rapa, a Hawaiian island. The natives thought we were Germans, and came at us with spears. When they found we were British, they were awfully good to us. They even cried when we left, and the day before the rescue boat arrived they begged us to go into the hills and hide." At another table a Canadian lad - once a sailor - then a soldier, who trained at the Broadmeadows camp - was telling his experiences : - "The voyage which will always stick in my memory," he said, "was to a place which must be nameless. We left the United States not knowing whether we were bound, or what we were going to do. After some weeks we sighted a group of wonderfully beautiful islands, and we headed for the most remote and most lovely of them all. Then, and only then, we learned our mission from the skipper. We were taking their year's supply to a leprosy station! Oh no! I don't blame the skipper for not telling us ! Someone has to do these things, you know. A naval guard saw they didn't come near - and we all got sixty dollars extra. When the job was over we were quarantined on another island for two months, and one little chap - the baby of the crew, not eighteen - developed leprosy, and died before we left. Yes! I'll never forget that voyage, mates! Sometimes, I seem to see Leper's Island yet, with its lavish tropical vegetation and the gorgeous sunsets which stained all the water with blood. Then, too" - here the voice deepened - "there was an English girl - a leper - there. We heard she used to be an actress, and she contracted the disease somehow or other. She was always alone, and always watching us. In the distance we could see her come to the water's edge, and from there she would watch. Just watch . .. . watch . . .watch. ..." "Here come a couple of North Sea chaps," broke in an elderly man after pause. "One of them wounded, too, poor lad." It is not strange that all the sailors flock to the Institute. It is so comfortable, and essentially inviting, besides being full of human interest. The men's quarters comprise reading, writing and dressing rooms - hot and cold baths are always available - billiard room, and a special baggage room, where any sailor may leave his kit for as long as he likes. The payment of 3d. covers its complete insurance. Upstairs are the officers' quarters. These also have their own billiard room, writing and reading rooms, bath and dressing rooms. Just close are the apprentices' quarters - "The Half Deck," as popular parlance has it! The lads also have a billiard room of their own, and indulge in an easy armchair - amongst others - which was a donation from the Milverton School branch of the Guild. It is hoped by the committee to some day utilise the huge empty rooms, which run the length of the whole building. Their ultimate intention is to fit them up as cubicles, or "cabins," as they are to be called. They trust these "cabins" will be donated, either in memory, or in honour, of someone dear to the donor. Another forward movement soon to be put in hand, now that materials are available, is the establishment of "Norla Gymnasium." In a sailors' club such facility for exercise is absolutely essential. The men both need, and miss, exertion. As one boy, who had been backsliding, once said pathetically : -"If only there was something to do to get me into a good sweat, I would be all right." Soon such an one will be helped to swing from the trapese of the Norla Gymnasium into the right track! Sunday is always a fete day at the Institute, for 40 or 50 sailors generally come into tea. The up-to-date kitchen, which is fitted with every labour-saving appliance - all paid for out of working members' half crowns - is then a hive of animation, and methodical order. A formidable row of teapots await filling. Mrs. Goldsmith -, the chaplain's wife - rightly thinks it is far more homely to pour out the tea from a pot, than to serve it straight from the urns. So tea is poured out by a member, who sits at the head of a table gay with flowers, and chats to the guests. These latter are of all nationalities. But the French, the Spanish, Scandinavian, Norwegian - or any other sailor is equally welcome with the British. Two enthusiasts belonging to the Guild actually learnt Norwegian, so that men of this nation would have someone to talk to, and so be less lonely when they reached this, to them, foreign port ! The members of the Guild have their own private suite where they arrange the flow-err and do other necessary odds and ends undisturbed. No one appreciates flowers like a sailor, and the earliest and most beautiful may always be seen adorning the tables and rooms. Teas are served and lectures are held in the "Celia Little Hall," one of the most beautiful portions of the institute. It was erected by the chaplain in memory of his aunt from whom the hall takes its name. The Gothic windows open upon the cloisters, where, in the hot weather, the sailors enjoy their meals out of doors. The cloisters, indeed, form an exquisite spot. They are between a series of sweeping arches which lead to the chapel, and are sheltered by the open balcony of the chaplain's quarters. Grace of contour marks the architecture on every turn. Just around the corner is the chaplain's garden - a patch of green and colour, transformed from a desert waste, by a well-known woman horticulturist. The book room is a department especially valued by the sailors. There are two secretaries, one for home and the other for foreign literature. Books in French, English, Spanish, Scandinavian, Norwegian, and German may be found on the shelves. Each week about 36 convenient parcels of reading stuff are made up. These contain illustrated papers, books in various languages, and magazines. These parcels are eagerly accepted by the sailor with a long monotonous voyage before him. But complete as is every corner of the institute, no part is so well equipped as the memorial chapel erected by the Ladies' Harbour Light Guild, in memory of the officers and men, who have lost their lives during the war. St Peter's - for it is called after the sailor's patron saint - with its hallowed gentle dignity is a veritable sanctuary of peace, perhaps all the more so because it sprang out of war. The fittings are entirely of Australian wood. The pews, given in memory of some loved one by one of the members, are of Tasmanian hardwood. The reredos and altar chairs of carved blackwood. The rich carpet was provided by the members' magical half-crowns. Already this chapel holds memorials of peculiar historical interest. The altar lectern was given in memory of Commander Elwell, who, it will be remembered, was killed at Rabaul, in the early part of the war. The font commemorates two heroes - Nigel Hockley and Fred Hyde, who lost their lives at the hands of the Germans, although they survived the actual torpedoing of their ships, the Galgorn Castle off the coast of Ireland. The mother of one of them wrote out that her son had died as an Englishman should - fighting for the right. This noble sentiment is suitably paraphrased upon the inscription engraved upon the font. Practically every-hing enshrined in the chapel has its own sentimental value. The alms salver of beaten copper, studded with agate, is fragrant with the memory of a saintly woman.The eye of the sailor is caught and held by the pulpit, which is fashioned like a ship's hull and only a twist of rope guides the chaplain up the steps. For the last 13 years the Rev. A. Gurney Goldsmith, M.A., has acted as chaplain to the Seamen's Mission in Melbourne. Before that he and his wife worked in China. Mr Goldsmith visits all the boats and gets in touch personally with the sailor, over whom he has great influence. He is not only their chaplain and friend, but, amongst a wide range of other things, their banker besides. An exchange system exists between the various Missions, and the sailor who has "banked" his money with the chaplain, upon going away, receives a cheque which is cashed - minus exchange - by the chaplain of the next port. Mr. Goldsmith will tell you he has a soft spot in his heart for on old sailor he calls "Paddy." This ancient mariner has been wrecked ten times. It was a long time before the chaplain prevailed upon "Paddy" to partake of the spiritual and secular advantages afforded by the institute. He would not come, he said, until he could do so "with a good heart." Finally he frankly admitted that he had no "friends like those of 'the Flying Angel,' " and that he eventually proved his own "good heart" will be shown in this story. One day he came in to the chaplain and said bluffly, "Well, sir, I've been payin' off some old scores up Carlton way, an' I tells yer, plain, sir, not one of 'em would have seen a penny of their money but for the Mission." The Ladies' Harbour Light Guild has over thirty working suburban branches, and the excellent results achieved at the Institute now will no doubt be considerably augmented in the future. The practical actions of the members do more than anything else to convey the subtle meaning of the name of the Guild. To the visiting sailors the word "ladies" signifies the bread givers; "harbour" safety ; "lights" welcome; "guild" the welding of fraternity, and they one and all tell you the ideals thus embodied are unselfishly carried out by all the ladies who have banded together to care for the sailors' welfare.The article describes the Mission and the use of several spaces a year after its opening and gives details about the daily activities.Digital copy of an article published in the Western Mail on the 13th of December 1918. 717 flinders street, seamen's mission, norla dome, lhlg, reverend alfred gurney goldsmith, celia little room, garden, frederica godfrey -
Warrnambool and District Historical Society Inc.
Photograph - Framed Coloured Photograph of The Palais, Palais de Danse
The first Palais dance theatre in Warrnambool was established in the Hotel Mansions on the corner of Kepler and Koroit Streets. When the hotel was destroyed by fire in 1929 the Palais was moved to the Oddfellows Hall in Koroit Street operating as a cinema. In 1939 the area in the Oddfellows Hall was converted into a dance floor, a skating rink and a squash court. The Palais dance hall continued until 1974. It had been a major entertainment venue in Warrnambool featuring many well known bands and singers over the years. This photograph is a fine memento of a most important entertainment venue in Warrnambool in the second half of the 20th century.A colour photograph of the interior of a dance hall showing the dance space, the lighting and the alcoves. The photograph is in two sections placed together. It is mounted on a yellow cardboard mount with a cut-out, printed name in cursive script. The black frame is made of composite material. A glass covering is over the photograph. On the back is a wire attachment for the hanging of the frame. There are crease and scratch markings in the bottom of the photograph.Palais de Dansepalais de danse warrnambool, the palais warrnambool, interior of the palais warrnambool, dance hall warrnambool, warrnambool -
Eltham District Historical Society Inc
Photograph, Fay Bridge, Moor-rul Viewing Platform, Garden Hill, Kangaroo Ground, n.d
OPENING OF THE VIEWING PLATFORM AT KANGAROO GROUND Nillumbik Council has advised that the viewing platform at Kangaroo Ground 27km NE of Melbourne is to be opened to the public on Wednesday, March 26th 2008 (Melway 271 , G10). The function of the platform is to provide shelter adjacent to the War Memorial Tower whilst allowing all people to enjoy the stunning panoramic views. From the platform you. can see the Dandenongs, the city of Melbourne, the You Yangs, Mount Macedon, the Kinglake Ranges and the Mt Baw-Baw Ranges where the Yarra River starts. This landscape covers all the ancestral lands of the Wurundjeri and some of the wider Kulin nation land. The platform has been given the name Moor-rut, a name which described the fertile soils of the Kangaroo Ground area in contrast to the poorer (Silurian) country of its surrounds, which the Wurundjeri knew as 'Nillumbik' or less rich country. The full 360 degree view can be seen from the adjacent Tower of Remembrance which has 53 stairs. The viewing platform however can be accessed by wheelchair. Inside the viewing platform there are eight double sided interpretive panels giving the history and information regarding this special area. The viewing platform's interpretive panels set out the Aboriginal and European history of the area and also the geology and the local flora and fauna, so that the casual visitor comes away understanding more about this significant part of Victoria. The concept of the viewing platform is part of the refurbishment project for the Kangaroo Ground War Memorial Park which has taken place since 1997 with the active approval and financial assistance of the Nillumbik Shire Council. This project has been guided by an Advisory Committee with volunteer community representatives from the local Historical Societies, the Country Fire Authority, the Returned Services League and the Wurundjeri people. Other allied groups such as the Nillumbik Reconciliation Group have been called upon for their expertise. The initial idea for the viewing platform came from Dean Stewart when he was the caretaker while living at the park. He discussed this idea with local author Mick Woiwod and Harry Gilham of Eltham District Historical Society when they were planning the refurbishment of the War Memorial Park in 1996. When the committee was formalised by the Nillumbik Council in 1997, Nicholas Pelling, representing the CFA and RSL, joined the group. Dennis Ward, local architect, then volunteered to develop the concept plan for the refurbishment of the park and later drew up the plans for the viewing platform. The Kangaroo Ground War Memorial Park and its Tower of Remembrance is located on one of the highest locations in the Yarra Valley. The Tower of Remembrance is a unique war memorial constructed from local stone standing 14 metres high. It was built in the style of a Scottish watchtower reflecting the strong Scottish influence of the first European settlers of the district from the 1840s onward. The park was opened in 1921 and the Tower of Remembrance was dedicated in 1926 recognising the local people who served in the First World War. Those who served in the Second World War were recognised by plaques dedicated in 1951 and more recently those who served in Korea, Borneo, Malaya and Vietnam by plaques unveiled in 2001. Harry Gilham, Advisory Committee Convenor - Eltham District Historical Society Newsletter N0 179 March 2008fay bridge collection, garden hill, kangaroo ground, memorial park, moor-rul viewing platform