The image is taken from the painting, by Gavin Ireland, ' Get Down... Fire! Battle of Fire Support Base Coral' . The phrase ' Get Down' references the direct orders shouted by Norden's platoon commander (Lt David Jensen). The print depicts in colour, a 105mm gun firing at the enemy, on the night of the 13 May 1968, when Fire Support Patrol Base Coral, faced its first attack. The print displays many of the signatures of the Veterans who were present at this attack.Large print of Battle', explosions, mortars and rockets. Thirteen soldiers visible in foreground. print of original painting by Gavin Ireland. There are many names and signatures at the bottom of the print as well as an account of the battle in black ink. This is a print of the by Gavin Ireland named Get Down Fire!Get Down...Fire! 13th may 1968. Battle of Fire Support Base Coral. There are many hand written signatures of personnel who were present at the attack.gavin ireland, 13th may 1968, battle of fire support base coral, vietnam, gavin ireland print, lt ian francis ahearn, 235307, royal regiment of australian artillery, 12th field regiment, pte gerald anthony ireland, 1202058, royal australian infantry corps, 1 australian reinforcement unit, 5th battalion, 7th battalion, the royal australian regiment

Two photocopies of hand-drawn sketch of the Barfold Gorge. On the sketch is the location of a house, trees, fences, different types of rock, some accessible areas to get down to the river, geological features and water falls.place, land, barfold gorge, peter ellis collection, barfold area, mitchell's falls, queen's fall

Reproduced by permission of Mr John Arnold from his book: "The Riversdale Golf Club - a history, 1892-1977." Copyright to book: Riversdale Golf Club. Surrey Hills Golf Club operated from 1892-1908 then moved and became Riversdale Golf Club. The game was played across paddocks from Trafalgar Street, Mont Albert to Whitehorse Road and down Victoria Crescent to where Box Hill TAFE is now located in Elgar Road. There were problems with cows eating the tee flags! The clubhouse still exists as 30 Trafalgar Street. The Surrey Hills Golf Club was founded by Mr Hugh W McLeod in 1894. The first president was Mr A W Harston. Mr William Meader was the first honorary secretary and the club champion for several years. Another notable identity was Mr. Harry Culliton, who contributed golf notes to "The Argus" for many years. Harry Culliton (clerk; later bank manager) married Christina Mary Rothwell of Surrey Hills in 1897. They initially live in Canterbury Road before moving to 'Bayview' in Harding Street. They had 3 sons. The eldest Kenneth Rothwell Culliton married Molly Fanny Arthur in 1940. They continued to live in 'Bayview'. Molly was a foundation member of the Surrey Hills Historical Society.The image is significant in documenting the Surrey Hills Golf Club, no longer in existence, but also members of early Surrey Hills families. Black and white photo showing a barbed wire and post fence behind which stands a man, identified as Harry Culliton. He is wearing a suit, cap and a tie. He sports a large 'handle-bar' moustache and is gripping an iron golf club, preparing to strike a golf ball which is impaled on the barbed wire.Caption: "Harry Culliton playing from the barbed wire where his ball was impaled on the fence on the side of the coffin. To his opponent's dismay he managed to land the ball near the green and get down in two for a half."sports grounds, surrey hills golf club, riversdale golf club, clothing and dress, john arnold, harry culliton

Coloured photograph of the Darwin 44 RDF Wing with the words ''Nil Bastardo Carborundum'' Latin for ''Don't let the bastard get you down''. There are two photographs.military, airforce, raaf radar

Handwritten extract from Our Mines New Chum & Devonshire Line. Written on the paper is: Miner Killed Sth Belle Vue 19/2/1894. Great Central Victoria - Adv 3/7/1899 Page 3. Has worked steadily to get down to the Victoria Quartz formation; but progress has been slow on account of hand labour being in vogue on the mine. Extract from Our'Mines' New Chum & Devonshire Line.document, gold, victoria quartz, victoria quartz, extract from our 'mines' new chum & devonshire line, sth belle vue, great central victoria, our 'mines' new chum & devonshire line

In 1999, a series of photos were taken of Arthritis Victoria member, Glenda Shalman, demonstrating arthritis-friendly gardening tools and aids, and how to use them. Some of these photos were used to accompany an article in the Arthritis Foundation of Victoria's quarterly magazine, Arthritis Update. In this photo, Glenda demonstrates how to use a 'garden kneeler' mobility aid to assist her in getting down to or up from a kneeling position.COL photo of a woman, from an upright position, pushing her arms down onto the armrests of a garden kneeler mobility aid. Her knees are bent at a 90 degree angle. She is either lowering herself down to a kneeling position or getting back up from a kneeling to a standing position.[On a yellow sticky note, in blue ink] Glenda Shalman Gardeningarthritis foundation of victoria, afv, arthritic aids, mobility aids, gardening aids, gardening tools, garden kneeler, living with arthritis, pain management, arthritis update, 1999

This book encourages readers to reminisce about their lives and shows how to record these personal and family memories for generations to follow.Demonstrates the importance of oral history and recording family histories.Hard cover. 130 pages, illus. (some col.).Inside front cover "To mum, hope this will jog a few memories, p'raps we can get 'em down on tape, or paper. From Shirl 18/3/93." "To Faye Fort 2007 From Shirl"oral history, family history, reminiscing, genealogy

Colour photocopy of a photograph originally taken by Jim Pleasance as a slide. Photograph taken from a Travel Tower looking down on to the crossroad paths by the Lily Ponds. Taken on the same day as the photograph used in, "Green Grows Our Garden," A.P. Winzenried opposite p 27. The caption reads, "Garden Staff Paula Cave and Andrew Smith modifying Luffman's Ponds, Burnley Gardens, 1990. The island in the western end of the pond is being reduced in size so that people entering the garden get a view down the gardens of the pond." jim pleasance, travel tower, lily ponds, green grows our garden, a.p. winzenried, staff, paula cave, andrew smith, burnley gardens, 1990, luffmann ponds, refurbishment of lily ponds

Bill Cahill in conversation at Victoria Hall Melton South July 1974 Chaff Mills Melton’s hey day, as I call it in the days when more hay was grown in Melton and Rockbank than, I’d say in any where in Victoria. We had two chaff mills. If I can remember rightly I’m sure of this, that in one month the amount of hay and chaff that went from Melton to Melbourne was about 1800 tons, that’s hay and chaff. There was a lot of hay went from the Melton Railway Station. I have often seen whole train load going down the Schutt and Barrie, that’s Bonnie’s father’s mill at West Footscray. The mills in those days employed up to from 18- 20 men in each, that was before electricity when the mills were run on steam then, there was no power. At times those chaff mills they got a lot of shipping orders, to the Philipines and other Asian countries. They’d work shifts at night on the second shift at night time they would have an old hurricane lamp hanging above from the ceiling just over the chaff cutter, you could hardly see yourself, or see the anything. Well they worked through the whole night they might have an order come in for perhaps 100tons up 500 tons of chaff to go a boat would be in and be waiting to be loaded in Melbourne and they’d have to go and work two shifts. Then they brought in casual labour to help them through and get the order cut and get it down by rail to ship board to send it away. Talking about the hay I’ve seen wagons of hay in the farmers carting to both mills and also hay going down to West Footscray. There would be a quarter of a mile without exaggeration wagons and teams would be waiting to get into the mill, they would come down at the weighbridge at about 3-4- o’clock, 2 o’clock waiting for the bridge to open to weigh their loads, the ones that would be running late would be there at the weighbridge about half past 7 - 8 o’clock. They would be lucky to get away by night before getting their load off. A funny episode I remember well was a farmer from up, Alan Hurley you would remember him, Sam McCorkell he would put on his load in the afternoon or evening leave it up the yard, and would leave Toolern Vale about 12 or 1 o’clock in the morning and he would get down to the weighbridge and when it was breaking day he would bring half of his fowl yard down with him. The fowls would hop up on top of the load and have a ride down and when it came daylight they’d hop off and away they’d go, and I suppose everybody had some of McCorkells poultry. [laughter from the audience] That always tickled my fancy and everybody would be laughing about the fowls getting off his load of hay. I reckon that was about one of the funniest things I’ve ever heard of. The Victoria Hall, where we are tonight was originally known as the Exford Hall. I believe Bonnie’s father was the original builder and owner of the chaff mills here round the corner which is known as Wards today. Later on I understand that his father had a chaff mill here were this hall is, then Dixon Bros were just a bit on the other side. I believe Bonnie’s father sold it to Dixon Bros, and they shifted this part of the mill here and took it over and joined it up. That’s the history of the early chaff mills. Is that right Bonnie? You might like to correct, I’m about right am I? Bonnie answers yes. The original audio tape was recorded on the reel to reel tape recorder by Bon Barrie using his own tape recorder. Transferred to CD by Tom Wood using computer technology capable of adjusting the recording to a legible speed for reproduction to compact disk. Bill Cahill article featured in the The Mail Expresslocal identities

A black and white postcard from Mary-Lyn Guest House in Marysville. Mary-Lyn was a part of the Mary Chain of guest houses built by Eric Dowdle in the Depression years.A black and white postcard from Mary-Lyn Guest House in Marysville.Post Card PRINTED IN AUSTRALIA Friday. 27th Dear Else + Ede, You will have guessed/ that I arrived here safely,/ made good time. When I arrived/ there was a coach at the door +/ a babble of voices from the/ dining room./ A number of War/ Widows were having the day out./ I waited for them to finish dinner/ Before appearing. It was very/ hot in Healesville but was cooler/ here. Yesterday was perfect and/ today is going to be warm again./ Violet's husband Fred is in hospital/ at Alexandra and I have been/ with Vi to see him twice. It/ is a lovely drive, he is doing/ well but won't be home for awhile./ Has to get his weight down./ Vi + Glen, her son 12, have gone/ shopping today at Eastland./ Fred's Aunt, my age, is living/ here so we are company for each/ other. I think its lovely here./ Expect to be home on Monday./ Hope you are both well love Doris XXmarysville, victoria, australia, mary chain guest houses, marylyn, eric dowdle, postcard, souvenir

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

The timber display case was presented to Mr Richard Standcombe Harris of Warrnambool (1831-1923). He was a councillor (1875-1891) and predominant businessman. Mr C F Loggin had met Mr Harris while on a trip to Stratford upon Avon in the United Kingdom. Upon his return to Warrnambool, Mr Harris donated the item to the Warrnambool Museum and Art Gallery, (established 1886) where Joseph Archibald was Curator: he catalogued the case in 1894. THE LETTERS IN THE CASE The two letters contained within the display case confirm the authenticity of the oak wood sample. The first letter in the case includes the text; "[Stamped Header on banner] High Street, Stratford on Avon [Hand written] Sept. 22nd / 91. Mr. R. S. Harris, Dear Sir, Enclosed you will find [underlined next 3 words] every authentic proof of the Oak from Shakespeare's House (Birth place). I regret very much Sir, that you made a short-day at S. on A. I should have been delighted to have had the honour, & pleasure, of showing you around our Beautiful Country. You did not give [next 3 words underlined] me or yourself a fair chance. But however I hope that we may again some day have more time to go quietly around. With kind regards, and wishing you, Sir, a pleasant voyage, I remain, Dear Sir, Yours very truly, C.F. Loggin. P.S. A paper will be always acceptable to be as how you Jolly Warrnamboolites are desporting yourselves. “ The second letter includes text; “[Printed Letterhead with stamped impression] The Trustees and Guardians of Shakespeare’s Birthplace Incorporated by Act of 54 and 55, Vict. 1891 Secretary and Librarian - Richard Savage Shakespeare’s Birthplace Stratford-upon-Avon [handwritten] 22 Sept 1891 This piece of oak is a portion of what was cut away at at the restoration of Shakespeare’s Birthplace in 1857-58. C. F. Loggins Chemist 3 High Street Richard Savage Sec. – Shakespeare’s Birthplace Mr C F Loggin was connected with the Shakespeare Trust as the person who had originally donated a scion of Shakespeare's mulberry tree to the "Shakespearean Birthday Committee" in 1842. (The scion that was given to the Shakespearean Birthday Committee, from which the Mulberry sample is derived, still grows today in "New Place" garden.) Mr Richard Savage was the Secretary and Liberian of the then renamed “Trustees and Guardians of Shakespeare’s Birthplace when the display case was given to Mr Harris in 1891 by Mr Loggin. WILLIAM SHAKESPEARE Shakespeare was born in 1564 in Stratford-upon-Avon, where he also grew up. He married at 18 years and he and his wife, Anne Hathaway, had three children: They moved to London where he became successful as an actor, writer, and part-owner of a playing company. He later returned to Stratford and purchased his last home, which he called "New Place" in 1602 where he later died in 1616. For the next 150 years, it was known that there existed a black mulberry tree in the garden. At the time there was a fashion for planting mulberry trees. It was the early 17th century after King James had come to the throne, and he imported tens of thousands of saplings in an attempt to get landowners to start a silk industry in England. Unfortunately for posterity, Shakespeare's mulberry was felled around 1756, by the then owner of “New Place" the Reverend Francis Gastrell, who was apparently tired of continual visits by pilgrims asking to see the tree, so he chopped it down. Gastrell had applied for local permission to extend the garden but the application was rejected and his tax was increased. Gastrell retaliated by demolishing the house in 1759, this greatly outraged the local inhabitants. Gastrell was eventually forced to leave town having provoked the wrath of Stratford residents for committing such an act. Today only the garden remains where “New House" used to stand with a scion from the original mulberry tree still growing there. The wood from the felled mulberry tree at “New House" was purchased by an enterprising local clock-maker Thomas Sharp and he spent the next 40 years or so years making souvenirs from the wood. These became early tourist souvenirs and subsequently developed into a profitable sideline for various other makers, including George Cooper and John Marshall. These objects range from relatively small domestic wooden objects, such as snuff boxes and weight scales to large tea caddies and even tables. C. F. Loggin donated a scion or cutting from Shakespeare's mulberry tree to the Shakespeare Birthplace Trust in 1862, he was a chemist who lived and worked in Stratford. There is a note on the frame of the donation that the mulberry sample is from this scion, research shows that from Richard Savage's diary notes that there must have been a lot of wood taken from that scion over the years which was planted in the garden of “New Place” and is still growing there today. The "Trustees and Guardians of Shakespeare’s Birthplace" (1847 -1964) was formed after the house where Shakespeare is believed to have been born fell into disrepair. Subsequently in 1846 after the death of Thomas Court's widow the last owner. Interest in the house was revived when PT Barnum, the American showman, wanted to buy it and ship the house back to America. In response to this, the Shakespeare Birthday Committee was established (by a private Act of Parliament) with the help of such luminaries as Charles Dickens, the Committee of Trustees raised the necessary £3,000 and purchased the house the following year. Once the Committee had acquired the building, restoration work began. Originally the Birthplace formed part of a terrace with later houses built either side. The first stage in its conservation was their destruction. At the time it was thought necessary to avoid the risk of fire spreading to Shakespeare's birthplace. Reconstruction was carried out by the Shakespeare Trust between 1857 and 1864 that restored the outside of the building to its original 16th-century state. It is from this restoration that the donated piece of oak is derived, originally from a beam that was in the house. Communication from The Shakespeare Birthplace Trust, dated April 11th, 2019, confirms that the pieces displayed in this case have good provenance. The wood samples are significant for their association with the history of William Shakespeare. The display case and its content is significant to Warrnambool local history for its association with the establishment in 1886 of the Warrnambool Museum and Art Gallery. However, it should be noted that the letters of authentication that accompany the wood samples are only applicable to the oak sample. None the less, all the pieces have very good provenance, with Richard Savage's certificate of authenticity for the oak, and the mulberry sample with the letter to Mr Harris from Mr CF Loggin having also been the donor of the scion of mulberry in 1862 to the Shakespeare Birthplace Trust. This scion was then established at Shakespeare's garden at "New Home" that had been demolished by Rev Francis Gastrell in 1759. Two wood samples associated with William Shakespeare, presented in a hanging, timber and glass display case with metal trim around the frame. The case also contains two letters and a label printed on a card that refers to the contents, their origins and the donor. A card label with a printed number and a round adhesive label are attached on the back of the case. The left round section of wood is from a donated scion (or shoot) derived from the original mulberry tree planted by William Shakespeare at his last home "New Place", Stratford-upon-Avon. The outer section is light brown coloured while the centre is dark grain. The right wood sample in the case is a section of oak rafter from the house where Shakespeare was born in 1564. The wood is mid brown with a distinct grain. The included letters, each dated 22/9/1891, refer to only the oak sample. - The letter on the left comprises two handwritten pages from Mr CF Loggin to Mr Richard Standcombe Harris. The paper has the printed letterhead address of High Street, Stratford on Avon. - The letter on the right is a handwritten certificate of authenticity signed by Mr CF Loggin and counter signed by Mr Richard Savage, Secretary and Liberian of the Shakespeare Trust. It is on the printed letterhead of The Trustees and Guardians of Shakespeare’s Birthplace Cardboard label inside the glass case “Shakespeare Section of Mulberry Tree, traditionally said to have been planted by Shakespeare in his garden, “New Place,” Stratford-on-Avon. PORTION OF OAK RAFTER from the house in which Shakespeare was born. (Presented by R S Harris 1891.) Printed label on the back of the case “3 2 “ The handwritten adhesive label “0566” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shakespeare display case, wood samples, oak from shakespeare's birthplace, mulberry from shakespeare's home "new place", stratford-upon-avon, shakespeare's birthplace, the trustees and guardians of shakespeare's birthplace &c., shakespeare trust, shakespeare birthday committee, r.s. harris, brunswick, victoria, richard s harris, brunswick, victoria, c.f. loggins, chemist, 3 high street stratford-on-avon, richard savage, warrnambool museum and art gallery, thomas court, pt barnum, charles dickins, anne hathaway, black mulberry tree, reverend francis gastrell

Holmes Family WW1 memorabiliaA number of people stand in a street surrounded by double storey architecture.Verso: "Dear Willie, I promised to drop you a line, so he goes. Well at present I am in france having -a-go-at the Germans, and so far out Battery is getting on alright. But I must say the Germans greet us know and again with a few shells, and I can assure you they are no friends of mine. I have just been out watching the German anti-aircraft Guns shelling our Aeroplanes. it is a very lucky shot that brings one down. i have seen a little bit of the World since I left australia, And I must say I like france better than egypt. The country at present is looking very nice, it being Spring time, The grass is about 6 foot high, and nothing on it to eat it as most of the people have cleared out from around here. I have not seen anything of Harry over this way as yet. Perhaps he is still in Egypt. Well Willie now about taking another cow to Clunes. Ay What. The name on the front of this card should be familiar to you in the War news. Well Willie Au revoir for present. remember me to all. Your fond cousin, Ron W." chatham-holmes family collection, armentieres, world war one, postcard, clunes, france

The story of this gold fob watch is intriguing. The letter is dated March 6, 1905, 27 years after the Loch Ard was wrecked. It appears to be a quick personal note from a relative or friend who briefly writes the history of the enclosed ‘souvenir’ watch, found in Loch Ard Gorge at Port Campbell. Although the finder is not named, it is likely the letter’s author. The writer mentions that the letter and watch would be sent once photographs of the area where the watch was found had been added. The fancy, lined envelope’s date stamp is October 12th, 1917 (12.10.17), almost 12 years after the letter was written. It has a postmark from Florence (Firenze), Italy. The handwriting on the envelope differs from that of the letter, and there is no further mention of photographs being included. The condition of the watch certainly shows the effects of time in the sea. Some inner workings can be seen through broken encrustations and missing sections of its case. The winding knob on the top is recognisable even though it is covered by sand and other adhesions from the sea. Its dainty size and gold case suggest that it was made for a well-to-do female. The watch, envelope and letter were donated along with a 1971 newspaper cutting, all neatly folded and tucked with the watch into a small, strong cardboard box with metal reinforcing on the corners and a fitted lid. The newspaper article gives context to the watch, telling the story of the Loch Ard shipwreck tragedy and the two survivors, but does not refer to the watch. Perhaps one of the 17 passengers sailing on the Loch Ard, including members of the Carmichael family, owned the watch, or maybe it was amongst the cargo, as the ship’s manifest includes ‘clocks and watches £25’. . Considering the dates of the letter and the envelope, did the finder of the ‘souvenir’ watch take it to Europe? Was it used for good luck during service in the military? . Comparing the different writing on the letter and the envelope, does it suggest that the watch’s finder was overseas and asked someone to send the envelope to the intended recipient, with postage from Italy? ABOUT the address, “Glencove”: The details on the envelope are faint and obscured by stiff creases in the paper. The address appears to be “Mrs J. Mortton, Glencove, Portsea, Victoria, Australia”; though the family at that address had the surname “Morton”. Mrs J. Morton, formerly Elizabeth Ford, married her second husband, James Morton, in 1904, the year before the date of the letter. The couple lived at the Nepean Hotel before they were at “Glencove”. Although they never owned that property, it was their home when James died in 1937. Elizabeth’s nephew, Alfred Sandle Ford (1894-1981), and a nephew-in-law were overseas during World War I. Alfred Ford had moved to Melbourne as a young boy with his father. He entered service as Second Lieutenant in 1915, naming his father, Alfred Sandle Ford, as his next of kin. He served in Egypt, France and Belgium with the Australian Imperial Forces as a member of the Field Artillery Brigades. He returned to Melbourne in 1919 and worked in Richmond and Box Hill. He later married Frances Whyburn. Previously, in 1872, Elizabeth Ford’s sister, Julia Ford, acquired the 1-acre property with a 3-room house that became known as “Glencove”, Portsea. The building was originally the first school in the area, established before Crown Land sales. In the Parish of Nepean, it was first assessed for rates in 1871. Julia Ford (1843-1912) and Elizabeth Ford (1859-1957) were daughters of James Sandle Ford (1811-1890), a well-known pioneer of Portsea, formerly a convict limeburner. James Ford acquired several Crown allotments in Portsea. In 1872, he converted his old hotel into the large residential establishment known as the Nepean Hotel, which his family largely ran until it was demolished in 1971. During those years, different family members lived at the Nepean Hotel or Glencove. In 1877, Julia Ford married a significant landowner, John Cain, a limeburner from Rye. They had five daughters, four of whom were never married; Kathleen (1880-1949), Mabel (1881-1973), who was the last family member to own the house until her death, Hilda (1884-1974) and Julia Ethel (1888-1949). Some of the newspaper records refer to “Glencove”, Portsea, inform that: 1927 - Dr. and Mrs. J. E. Shilliday are staying with Mrs. R. B. Sanderson at Glencove. (Australasian) 1937 - James Morton died at his property, Glencove, Portsea, aged 83 years (Argus) 1949 - Julia Ethel Cain died at Glencove, Portsea. (Argus) 1949 - Probate application by sisters of Julia Ethel Cain, deceased, formerly of Nepean Hotel, Portsea, but late of Glencove, Nepean Highway, Portsea. The connection of the watch with the sands of Loch Ard Gorge and to the ship Loch Ard contributes to our knowledge of personal items brought to Australia in 1878, whether as the belongings of a passenger or as cargo; a gold watch would be intended for a wealthy buyer. The little artefact helps us understand the survival of artefacts in the powerful sea, over a quarter of a century after the wreck of the ship. Although many people would have visited the shipwreck site, the length of time before it was found helps us understand the effects of the sea on shipwreck artefacts. The survival of the carefully packaged watch and related documents shows the respectful understanding of preservation of historic artefacts, even from almost 150 years ago at the time of writing (2025). Ladies' fob watch, thought to be gold. It is now covered in encrustation. A bump on the edge would be the winding mechanism for the watch. A small section of the back of the case has broken away, and an engraved surface can be seen. Face and hands are missing, revealing the spring workings inside. Donated with the watch were two documents and a newspaper cutting about the story of the shipwreck of the Loch Ard. They are all in a strong cardboard box with reinforced corners on the base and lid. Found at Loch Ard Gorge and said to have been from the Loch Ard. The three donated documents are: - 1. A rectangular envelope made of cream waxy paper lined with black and white diagonally striped paper. The top right corner, usually meant for a postage stamp, has been torn off, partly exposing text on a rectangular printed logo. A round black postmark stamp near the top centre shows the post office location and date. The address on the front is handwritten in black ink. The creases on the envelope suggest it has been folded three times. 2. A letter on cream rectangular paper features clear, handwritten script in black ink. The unevenly cut bottom edge has two short black vertical lines, possibly the tops of tall written letters. There are creases where the page has been folded three times. 3. A newspaper clipping featuring text, an illustration, and handwritten details of the newspaper’s source.1. Envelope: - Address: ”Australia (per Postage) / [looks like “Mrs J. Mortton”] / Glencove, (Portsea) / Victoria” Postmark: “FIRENZE” 12 10 17” “ - - - -PORTEN – (illegible)” Logo inside envelope: “BUSTA BRE--- / Earliera Lialia” [Italian; Busta = envelope, Earliera == earlier] 2. Letter: - “I am sending you a ‘souvenir’ from the wreck of the Loch Ard 28 years ago at Port Campbell. It is the remains of a lady’s gold watch found in the gorge where Miss Carmichael & Tom Pearce (the only two saved) were washed up. This souvenir was lying there ever since. I went down into the awful gorge & saw the cave where these two unfortunates (or fortunate perhaps, as they were saved) lived until rescued. I also saw the graves of those who were washed up from the wreck. One grave contains Dr and Mrs Carmichael & six of their children. Later on, when I can get some good views of that wild coast I will send them to you. 6/3/05.” 3. Newspaper cutting: - History of the Lochard. Refer to the Sydney Morning Herald, Nov. 28th, 1971: “Loch Ard: the wreck that became a legend” flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, great ocean road, loch ard, eva carmichael, tom pearce, loch ard gorge, loch ard souvenir, port campbell, miss carmichael, mrs carmichael, dr carmichael, 1878, loch ard: the wreck that became a legend, ladies fob watch, gold watch, fob watch, pocket watch, horology, accessory, time keeping, scientific instrument, ladies' watch, ladies' pocket watch, lady's watch, souvenir watch, survivor, clocks and watches, diagonally striped envelope lining, firenze, busta, earliera, florence, italy, glencove, portsea, victoria, 1905, 1917, nepean hotel, moreton, morton, elizabeth morton, mrs j. morton, james morton, elizabeth ford, julia ford, alfred sandle ford, frances whyburn, james sandle ford, john cain, kathleen cain, mabel cain, hilda cain, julia ethel cain, australian imperial forces, field artillery brigades, limeburner

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

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

The 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

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

It took 15 years to invent the can. It took 100 more to invent a standard way to open it. In the 19th century, decades after the invention of canning, there were virtually no can openers. Canned food, such as sardines, came with its own "key" to peel back the tin lid. Birth of the can One of the oddest things about the can opener is that the can predates it by almost 150 years. Though common today, cans were once military-grade technology. In 1795, Napoleon, to whom the phrase "an army marches on its stomach" is attributed, offered 12,000 francs to anyone who could find a way to preserve food. Without any knowledge of bacteria or their role in food spoilage, scientists didn't even know where to begin. It took 15 years before a chef named Nicholas Appert claimed the prize after successfully jarring food. Soon after that, his countryman Philippe de Girard came up with a variant on Appert's method—metal tins—and sold the idea to the British. Spoiled food, and the sickness it caused, was a widespread problem. The public would have benefited from canned food, but for decades cans were almost exclusively for the army and the navy. The canning process, with its hours of boiling and steaming, its scrupulous cleanliness, its heated metal, and its need for a great deal of disposable material, made canned food far too expensive for anyone but the military. No can openers were needed or even possible. The metal of early cans was too thick to make openers practical. Soldiers and sailors had plenty of sharp objects on hand and made ample use of them when they wanted to eat. During the 19th century, the process of canning was refined and mechanised, and the metal wall of the average can slimmed down enough that a civilian could get it open—if that civilian had the right tool. No one had that tool yet, so early cans had to open themselves. In other words, they came with built-in openers. The result was a confusing but pleasing free-for-all, in terms of product engineering. Each type of food came with its own kind of can, and each kind of can came with its own kind of opener. Tinned fish and meat were often sold in rectangular cans. These cans were fitted with a "key" that would roll down the top of the can. Coffee, beans, and other types of meat were packaged in cylinders with metal strips that could be peeled back with their own kinds of built-in keys. Cans of milk, which didn't need to be completely opened, came with puncture devices. As tinned food became more common, its containers became more regular. A nice cylindrical can became the norm, and, as these cans filled kitchens, more engineers put their minds to finding a convenient way to open all of them. The first standalone can opener worked on a simple principle: point, stab, and pull. From the mid-19th century to the end of World War I, the typical can opener looked roughly like a wrench, if the lower 'jaw' of the wrench were replaced with a blade. People used the blade to puncture the top of the can near its edge, push the upper jaw against the side of the can, and drag the blade through the metal along the rim. Because meat was the first and most popular canned substance, these can openers were often shaped to look like cows and given the nickname 'bully beef can openers'. The bully beef can opener, popular in the mid-19th century, resulted in many lost fingers. Later, a corkscrew was added that was seated in the handle, and could be pulled out for use. Bully beef can openers were so common, effective, and sturdy that they are still frequently available on collectors' sites. Some are advertised as “still working,” and every last one of them is, without a doubt, soaked in the blood of our ancestors. Dragging a sharp blade along the edge of a can is certain to cause injury sooner or later. So once people got a reliable can shape and a reliable way to get the can open, the search was on for a reliable way to get a can open without the possibility of losing a finger. The answer came in 1925, from the Star Can Opener Company of San Francisco. This is probably the first can opener that resembles the one people have in their kitchens today. Instead of using a blade to pry open a metal can, buyers could clamp the edge of the can between two wheels and twist the handle of one of the wheels to move the blade around the lip. The Star can openers weren't perfect. Compared to the bully beef model, they were flimsy and breakable, but they probably prevented a few injuries. Six short years after the Star model came to market, the first electric can opener was invented. It was patented in 1931 by the Bunker Clancey Company of Kansas City, who had already been sued by the Star Can Opener Company for trying sell a double-wheeled can opener like the Star model (the case was dismissed). The electric can opener must have seemed like the wave of the future and a sure-fire seller, but it proved to be too far ahead of its time. In 1931 not that many households had electricity, and those that did weren't interested in buying can openers. The Bunker Clancey Company was subsequently bought by the Rival Company, which still makes small appliances like can openers today. It took another 25 years for electrically powered can openers to become practical. In the 1950s, Walter Hess Bodle and his daughter, Elizabeth Bodle, developed an electric can opener in the family garage. Walter came up with the opener's blades and motor, and Elizabeth sculpted the outside. Their can opener was a free-standing unit that could sit on the kitchen counter. The Udico brand of the Union Die Casting Company put it on the market in time for Christmas in 1956 and had great success with it. Over the next few years it came out in different styles and colours, and, like the bully beef can opener, has become a collector's item. Also like the bully beef model, Udico can openers often still work. They don't make 'em like they used to. Although there have been some design changes and refinements over the last sixty years, there have yet to be any more leaps forward in can opener technology. If you're resentfully opening a can, you are almost certainly doing it using the Star design, manually forcing the can between two wheels, or the Bodle design, clamping the can into a free-standing electrical opener. Whether or not you enjoy your holiday meals, at least you can be happy that you are not getting poisoned by your own food or cutting open your hand with the blade you use to get at it. That's something, right?The can opener, Bottle opener and the corkscrew are still very important and essential items in most kitchens.Metal can opener, chromed, with bottle opener, and a corkscrew seated in the handle.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, canning, can opener, corkscrew, bottle opener, kitchen equipment

It took 15 years to invent the can. It took 100 more to invent a standard way to open it. In the 19th century, decades after the invention of canning, there were virtually no can openers. Canned food, such as sardines, came with its own "key" to peel back the tin lid. Birth of the can One of the oddest things about the can opener is that the can predates it by almost 150 years. Though common today, cans were once military-grade technology. In 1795, Napoleon, to whom the phrase "an army marches on its stomach" is attributed, offered 12,000 francs to anyone who could find a way to preserve food. Without any knowledge of bacteria or their role in food spoilage, scientists didn't even know where to begin. It took 15 years before a chef named Nicholas Appert claimed the prize after successfully jarring food. Soon after that, his countryman Philippe de Girard came up with a variant on Appert's method—metal tins—and sold the idea to the British. Spoiled food, and the sickness it caused, was a widespread problem. The public would have benefited from canned food, but for decades cans were almost exclusively for the army and the navy. The canning process, with its hours of boiling and steaming, its scrupulous cleanliness, its heated metal, and its need for a great deal of disposable material, made canned food far too expensive for anyone but the military. No can openers were needed or even possible. The metal of early cans was too thick to make openers practical. Soldiers and sailors had plenty of sharp objects on hand and made ample use of them when they wanted to eat. During the 19th century, the process of canning was refined and mechanised, and the metal wall of the average can slimmed down enough that a civilian could get it open—if that civilian had the right tool. No one had that tool yet, so early cans had to open themselves. In other words, they came with built-in openers. The result was a confusing but pleasing free-for-all, in terms of product engineering. Each type of food came with its own kind of can, and each kind of can came with its own kind of opener. Tinned fish and meat were often sold in rectangular cans. These cans were fitted with a "key" that would roll down the top of the can. Coffee, beans, and other types of meat were packaged in cylinders with metal strips that could be peeled back with their own kinds of built-in keys. Cans of milk, which didn't need to be completely opened, came with puncture devices. As tinned food became more common, its containers became more regular. A nice cylindrical can became the norm, and, as these cans filled kitchens, more engineers put their minds to finding a convenient way to open all of them. The first standalone can opener worked on a simple principle: point, stab, and pull. From the mid-19th century to the end of World War I, the typical can opener looked roughly like a wrench, if the lower 'jaw' of the wrench were replaced with a blade. People used the blade to puncture the top of the can near its edge, push the upper jaw against the side of the can, and drag the blade through the metal along the rim. Because meat was the first and most popular canned substance, these can openers were often shaped to look like cows and given the nickname 'bully beef can openers'. The bully beef can opener, popular in the mid-19th century, resulted in many lost fingers. Bully beef can openers were so common, effective, and sturdy that they are still frequently available on collectors' sites. Some are advertised as “still working,” and every last one of them is, without a doubt, soaked in the blood of our ancestors. Dragging a sharp blade along the edge of a can is certain to cause injury sooner or later. So once people got a reliable can shape and a reliable way to get the can open, the search was on for a reliable way to get a can open without the possibility of losing a finger. The answer came in 1925, from the Star Can Opener Company of San Francisco. This is probably the first can opener that resembles the one people have in their kitchens today. Instead of using a blade to pry open a metal can, buyers could clamp the edge of the can between two wheels and twist the handle of one of the wheels to move the blade around the lip. The Star can openers weren't perfect. Compared to the bully beef model, they were flimsy and breakable, but they probably prevented a few injuries. Six short years after the Star model came to market, the first electric can opener was invented. It was patented in 1931 by the Bunker Clancey Company of Kansas City, who had already been sued by the Star Can Opener Company for trying sell a double-wheeled can opener like the Star model (the case was dismissed). The electric can opener must have seemed like the wave of the future and a sure-fire seller, but it proved to be too far ahead of its time. In 1931 not that many households had electricity, and those that did weren't interested in buying can openers. The Bunker Clancey Company was subsequently bought by the Rival Company, which still makes small appliances like can openers today. It took another 25 years for electrically powered can openers to become practical. In the 1950s, Walter Hess Bodle and his daughter, Elizabeth Bodle, developed an electric can opener in the family garage. Walter came up with the opener's blades and motor, and Elizabeth sculpted the outside. Their can opener was a free-standing unit that could sit on the kitchen counter. The Udico brand of the Union Die Casting Company put it on the market in time for Christmas in 1956 and had great success with it. Over the next few years it came out in different styles and colours, and, like the bully beef can opener, has become a collector's item. Also like the bully beef model, Udico can openers often still work. They don't make 'em like they used to. Although there have been some design changes and refinements over the last sixty years, there have yet to be any more leaps forward in can opener technology. If you're resentfully opening a can, you are almost certainly doing it using the Star design, manually forcing the can between two wheels, or the Bodle design, clamping the can into a free-standing electrical opener. Whether or not you enjoy your holiday meals, at least you can be happy that you are not getting poisoned by your own food or cutting open your hand with the blade you use to get at it. That's something, right?The can opener is still a very important and essential item in most kitchens.Can opener, right handed, metal, upper blade section serrated, inscription 'Peerless Pat.Feb 11-90'.Peerless Pat.Feb 11-90flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, cannning, can opener, kitchen equipment

CONTEXT – UPDATED The photograph taken on Sunday, September 6, 1891, shows the Port Campbell Rocket Rescue Crew and Equipment at Wreck Beach, Moonlight Head, preparing to save the stranded men on the wreck of the barque Fiji. The man standing in the middle, front of the photograph, facing the ocean, is Herbert Maxwell Morris, a farmer at Barruppa near Princetown, who is also a member of the Rocket Rescue Crew. The Rocket Rescue lifesaving method used an explosive rocket to shoot a light line from the shore across to the distressed vessel. The line was then secured to the ship’s mast, and a heavy, continuous line was sent out with a ‘breaches buoy’ attached (a buoy similar to the seat of a pair of trousers). The stranded seafarers would sit in the seats and be pulled along the line to safety. A lot of skill was needed to set up the line to reach its target, and the crew trained regularly to keep up their skills. The FIJI and the RESCUE: - The three-masted iron barque Fiji was built at Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool-based shipping company. The ship departed Hamburg on May 22, 1891, bound for Melbourne under the command of Captain William Vickers with a crew of 25. The Cape Otway light was sighted on September 5, 1891. However, the bearing was different from Captain Vickers’ calculations. At about 2:30 am the next morning, the land was reported only 4-5 miles away. The captain tried to redirect the ship in the rough weather without success, and the Fiji struck rock only 300 yards (274 metres) from shore. The crew burned blue lights and fired rockets to signal distress. The lifeboats either capsized or were swamped and smashed to pieces. Two younger crewmen volunteered to swim to the shore with a line. One, a Russian named Daniel Carkland, drowned after he was swept away when the line broke. The other, Julius Gebauhr, a 17-year-old German able seaman, reached shore safely on his second attempt but had cut the line loose with his sheath-knife when it tangled in kelp. He climbed the cliffs in search of help. Later that morning, a young man named William (Willie) Ward reported that he saw the wreck of the ship close to shore near Moonlight Head from the cliffs, and the alarm for help was sent to Princetown, six miles away. At around the same time, a Mott’s party of land selectors, including F. J. Stansmore and Leslie Dickson, was travelling on horseback from Princetown towards Moonlight Head. They were near Ryans Den when they found Gebauhr in the scrub, bleeding and dressed only in a singlet, socks and a belt with his sheath-knife. They thought the man might be an escaped lunatic, due to his wild and shaggy-looking state and what seemed to be gibberish speech. After Gebauhr threw his knife away, they realised that he was speaking half-English, half-German as he talked about the wreck. They gave him food, brandy and clothing, and he was taken to a nearby guest house, Rivernook, owned by John Evans, where he was cared for. Most of the party went off to the wreck site. Stanmore and Dickson rode for help from both Port Campbell, for the two Rocket Rescue Crew buggies, and from Warrnambool, for the lifeboat. The vessel S.S. Casino sailed from Portland towards the scene. Half of the Port Campbell Rocket Crew and equipment arrived after a 25-mile journey and set up the rocket tripod on the beach below the cliffs. By this time, the weary crew of the Fiji had been clinging to the jib-boom for almost 15 hours, calling frantically for help. The Office in Charge of the Rocket Crew, W. Tregear, ordered the rocket to be fired, but the light line broke and the rocket was carried away. A second line was successfully set up by Herbert Morris. It crossed the ship and was secured. The anxious sailors tried to come ashore along the line, but some were washed off as the line sagged with too many on it at one time. Other nearly exhausted crewmen made 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. Rocket Crew members and onlookers on the beach took turns to go into the surf and drag the half-drowned seamen to safety. These rescuers included Bill (William James) Robe, Herbert Maxwell Morris, Edwin Vinge, Hugh Cameron, Fenelon Mott, Arthur Wilkinson and Peter Carmody, who was also involved in the rescue of men from the Newfield. Arthur Wilkinson, a 29-year-old land selector from Geelong, swam out to help one of the ship’s crewmen, a carpenter named John Plunken, who was trying to swim from the ship to the shore. Two or three times, both men almost reached the shore but were washed back to the wreck, where they were both hauled back on board. Wilkinson was unconscious, possibly from hitting his head on the anchor before they were brought up. Plunken survived, but Wilkinson later died, and his body washed up the next day. The 26-year-old Bill Robe hauled out the last man; it was the captain, and he’d been tangled in the kelp. Only 20 minutes later, the wreck of the Fiji was smashed apart, and it settled in about 6 metres of water. Of the 26 men on the Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach. Their coffins were made from timbers from the wrecked Fiji, and they were buried on the cliff top above the wreck. The survivors were taken to Rivernook and cared for over the next few days. Funds were raised by locals soon after the wreck in aid of the sufferers of the Fiji disaster. Captain Vickers was severely reprimanded for his mishandling of the ship. His Master's Certificate was suspended for 12 months. There was public criticism of the rescue. The important canvas ‘breeches buoy’ and heavy line for the Rocket Rescue were in the half of the rocket outfit that didn’t make it in time for the rescue, as they had been delayed at the Gellibrand River ferry. The communications to Warrnambool were down, so the call for help didn’t get through on time. The boat that was notified of the wreck failed to reach it in time. Much cargo looting occurred. One looter was caught with a small load of red and white rubber balls. 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 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. In 1894, some coiled fencing wire was salvaged from the wreck. Hundreds of coils are still strewn over the site of the wreck, encrusted and solidified. The hull is broken, but the vessel’s iron ribs can be seen along with some of the cargo of concrete and pig iron. Captain Vickers presented Bill Robe with his silver-cased pocket watch, the only possession that he still had, as a token for having saved his life and the lives of some of the crew. Years later, Bill used the pocket watch to pay a debt, and it was handed down through that family. Seaman Julius Gebauhr later gave his knife, in its handcrafted leather sheath, to F. J. Stansmore for caring for him when he came ashore. The knife handle had a personal inscription on it. A marble headstone on the cliffs overlooking Wreck Beach pays tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Captain Vickers’ pocket watch and Julius Gebauhr’s sheath knife are among the artefacts salvaged from the Fiji that are now part of the Fiji collection at Flagstaff Hill Maritime Village. The man identified in the photograph, Herbert Maxwell Morris, was the nephew of the Victorian era artist, William Morris. Herbert had sailed from England to Australia; he was about 25 years old when he joined the Rocket Rescue Crew at Port Campbell, where he lived. His successful rocket line firing at the Fiji wreck site was noted by author Jack Loney in one of his historic shipwreck books. Later, Morris moved from his property at Baruppa to Laver’s Hill to run a more profitable enterprise. This photograph is significant as an image of a historical event, being the willingness of local volunteers to aid in the saving of lives of stranded seafarers. It gives a clear picture of the use of Rocket Rescue Equipment in shore-to-ship rescues. Flagstaff Hill’s Fiji collection is of historical significance at a State level because of its association with the wreck Fiji, which is on the Victorian Heritage Register VHR S259. The Fiji is archaeologically significant as the wreck of a typical 19th century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo evident. It also represents aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes. The Fiji collection meets the following criteria for assessment; Importance to the course, or pattern, of Victoria’s cultural history, possession of uncommon, rare or endangered aspects of Victoria’s cultural history, and potential to yield information that will contribute to an understanding of Victoria’s cultural history. Black and white photograph of the Rocket Rescue Crew from Pt Campbell on Wreck Beach, Moonlight Head, at the barque 'Fiji' wreck site. September 6, 1891.warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, pocket watch, fob watch fiji, william vickers, william robe, bill robe, gebauhr, stansmore, carmody, wreck bay, moonlight head, fiji shipwreck 1891, rocket crew, port campbell rocket crew, lifesaving crew, photograph of rocket crew, herbert morris, warrnambool, shipwreck artefact, mott, william ward, rocket rescue, breeches buoy, rivernook guest house

Hard cover book. The Bird of Dawning Author: John Masefield Publisher: William Heinemann Ltd Date: 1933 to 1939 Further Information: Blue Cloth hardcover with lettering and patterning to spine in gilt. Front cover with title & authors name in gilt. The spine has a Library label with an inscription.fictionThe Bird of Dawning (1933) is a sea-adventure novel about the clipper ship Black gauntlet, which is racing home from China to London when she's struck at night by a passing steamer. Only about half the crew sixteen men escape into a lifeboat before she goes down. The 22-year-old second mate, Cruiser Trewsbury, takes command of the survivors and leads them on a roughly 700-mile open-boat voyage to the island of Fayal in the Azores, fighting sharks, dwindling water and food, a leaking boat, and the threat of mutiny along the way. Partway through, the survivors come across an abandoned, dismasted clipper still afloat and Cruiser gets the chance to jury-rig her and sail her home himself, turning survival into a race against time.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, martin hyde the dukes messenger, john masefield, book, warrnambool mechanics’ institute, pattison collection, warrnambool library, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library

Seems that Tom pays Ned's wages. Numerous bores were sunk , some were opened out and driven in the direction of the reef. Numerous Cross cuts were also made from the main tunnel.Unless otherwise stated the letters are from Dad (Richard Squire) to Tom, Hazel & Kiddies all. .1) Handwritten two page letter from Richard Squire to 'Tom & Hazel & little men' with information regarding the Leigh River Tunnel at Mount Mercer, dated 6/8/28. .2) Handwritten three page letter with information regarding mining operations dated 27.6.29. .3) Handwritten three page letter from Richard Squire to 'Tom & Hazel & Flock' with queries regarding the health of one of their children, other personal information and information regarding mining operations dated 18/7/29. .4) Handwritten one page letter from Richard Squire to 'Tom' dated 20/7/29, regarding the enclosed handwritten receipt with stamp for Call of two shares costing 8 pounds 7 shillings and 2 pence in Leigh River Tunnel Syndicate from Richard Squire dated 13th July 1927. .5) Handwritten two page letter from Richard Squire to 'Tom & Hazel & Pinchers' regarding his health, other personal information and information about the four page report of position of work at 'Leigh River Tunnel' enclosed. The letter is dated 29/11/29 and the report dated Nov 28th 29. .6) Handwritten two page letter with personal information and a suggestion that Tom learn to swim dated 13th Jan 30. .7) Handwritten two page report by Richard Squire regarding Leigh River Tunnel Syndicate plus a one page 'Rough Section' drawing of the tunnel dated 29th April 1930. .8) Typed one page report by Richard Squire regarding Leigh River Tunnel Syndicate and the findings of a new shaft dated 9th December 30. .9) Handwritten one page letter by Richard Squire to 'Tom' regarding mining operations and four handwritten receipts for payment of Calls from Richard Squire and Mr H McLeod and Mr E McLeod with stamps. .10) Handwritten two page letter regarding a meeting he had with the Secretary for Mines, Mr Whitehead dated 22 Feb 1931. .11) Handwritten two page letter regarding the difficulties in financing the mining operation occasioned by the interference of the government department dated 12th Mar 31. .12) Handwritten one page letter regarding the delay in the submission of his letter to the Gold Committee and with details of plans he had sent to Tom separately, dated 1st April 31. .13) Handwritten two page letter by Richard Squire to 'Tom' regarding personal matters including his health and also information regarding Tunnel work, dated May 11th 31. .14) Handwritten two page letter regarding the mine work, how his new employee, Ned, was going and also his health, dated Thur 21st May 31. .15) Handwritten two page letter regarding the Tunnel progress and financial matters dated Tue 26th May. .16) Handwritten three page letter regarding the Tunnel progress dated Thur June 11th. .17) Handwritten two page letter regarding the Tunnel progress, an issue relating to Ned's taxation assessment and his own health, dated 28th June 31. .18) Handwritten three page letter with detailed information on the Tunnel progress and information regarding his health, dated Thur July 23rd. .19) Handwritten two page letter regarding the Tunnel progress and some personal greetings, dated Thur July 30th 31. .20) Handwritten two page letter regarding the Tunnel progress, an agreement with Messrs Read & Peers? and a renaming of a Prospect as Lawaluk instead of Mount Mercer, dated Sun 2nd Aug 31. .21) Handwritten three page letter regarding the Tunnel progress, the lease agreement on Mr Read's property at Mount Mercer which he had been unable to pay and a parsley root remedy which a Ballarat Chinese herbalist had prescribed for his catarrh and had been effective, dated Thur 13th Aug 31. .22) Handwritten two page letter regarding the efficacy of the parsley (root) water in healing his catarrh and detailed progress report on the Tunnel which showed a little gold in the uncovered 'wash', dated Mon 24th Aug. .23) Handwritten three page letter regarding the progress of the Tunnel and one of the bores sunk also mentions his health, dated Mon Sept 7th. .24) Handwritten three page letter regarding the Tunnel progress in detail and an account of his illness, dated Thur 24th Sept. .25) Handwritten two page letter regarding the Tunnel progress in detail and his health which had been poor, dated Thur Oct 8th 31. .26) Handwritten four page letter regarding the Tunnel progress in detail, dated Thur Oct 22. .27) Handwritten four page letter regarding a detailed report of the Tunnel progress including the news of some show of gold and other personal matters including advising Tom not to drive there when he would have to drive home in the dark because of the accidents caused by 'Boosy Drivers', dated Thur Nov 19th 31. .28) Handwritten two page letter regarding the continued promising Tunnel progress, dated Thur Nov 26th. .29) Handwritten two page letter regarding Tunnel progress and personal matters relating to the coming Christmas visit, dated Thur Dec 3rd 1931. .30) Handwritten two page letter regarding Tunnel progress and personal matters regarding the impending visit by the family, dated Sun Dec 6th 31. .31) Handwritten two page letter regarding his health and the treatment proscribed by a Chinese herbalist and also some information about his expenses, dated Sunday 25/1/32. .32) Handwritten four page letter regarding Tunnel progress including a small diagram and further information on his health, dated Thur 25th Feb 32. .33) Handwritten three page letter regarding Tunnel progress and some personal and family information, dated Mon 21st 32. .34) Handwritten one page letter regarding some personal matters and information about the Tunnel progress, dated Thus 31st Mar. .35) Handwritten two page letter regarding detailed information about the Tunnel as well as a one page diagram of the Drives being excavated, dated Sun night 3rd April. .36). Handwritten three page letter from his home in Prahran regarding a mixture of personal matters and matters relating to the Tunnel, dated 18/4/32. .37) Handwritten one page letter regarding enclosed three shares which were to be placed as he was very short of funds, dated 19-4-32. .38) Handwritten two page letter from his home in Prahran regarding work carried out by Ned at the Tunnel and family matters, dated 6/5/32. .39) Handwritten one page letter from his home in Prahran regarding work carried out by Ned at the Tunnel, dated 10/5/32 plus an attached one page letter written by Ned (E. Woodlook) to 'Mr Squire' regarding regarding Tunnel progress, dated Saturday. .40) Handwritten two page letter from his home in Prahran regarding Tunnel progress and some personal matters, dated 27/5/32 plus an attached one page letter written by Ned to 'Mr Squire' regarding Tunnel progress and with the information that the rats were bad in Richard's hut, dated Friday. .41) Handwritten two page letter from his home in Prahran regarding Tunnel progress, dated 3/6/32 plus a two page letter written by E.Woodlock to 'Mr Squire' regarding Tunnel progress as well as person matters regarding his health, dated Friday (27th May 32 written in pencil by Richard). .42) Handwritten three page letter from his home in Prahran regarding tunnel progress and financial matters, also detailed information about the Madison's Tunnel, dated 8/6/32, plus a one page letter from E. Woodlock (Ned) to 'Mr Squire' regarding Tunnel progress dated Saturday (4 June, 32). .43) Handwritten three page letter from his home Prahran regarding a sketch he had made of Madison's Tunnel and the Mercer Shaft (not present) and the similarity of other mines with barely Payable gold, dated 13/6/32. plus a one page letter from E. Woodlock to 'Mr Squire' regarding Tunnel progress dated Saturday. .44) Handwritten one page letter by Richard Squire to 'Tom' from his home in Prahran with some personal information as well as the hope to return to Mt Mercer as he felt he was now well, not dated, plus a two page letter from E. Woodlock to 'Mr Squire' regarding duty stamps sent and Tunnel progress dated Saturday. .45) Handwritten two page letter from his home in Prahran regarding the progress of the Tunnel, dated 21/6/32, plus a one page letter from E. Woodlock regarding the progress of the Tunnel work, dated Monday (20/6/32). .46) Handwritten three page letter from his home in Prahran regarding the price of gold and the effect that mining Payable gold in the Madison Tunnel could have, dated 27/6/32. .47) Handwritten three page letter by Richard Squire to Tom, Hazel & Kiddies all' from his home in Prahran regarding his thoughts on the Madison Tunnel at Piggoreet, dated Mon 4th July 32, plus two one page letters by E Woodlock to 'Mr Squire' regarding the Tunnel work and more personal things, dated Wednesday (June 29th 32) and Saturday (July 2nd). .48) Handwritten two page letter from his home in Prahran regarding his intention to return to the diggings in a small car procured for his use and his intention to re-peg the Leigh River Lease in another name, dated Sun 17/7/32, plus a two page and a one page letter by E Woodlock to 'Mr Squire' regarding progress at the Tunnel dated Thursday (7th July) and Tuesday (12th July 32). .49) Handwritten one page letter by E Woodlock to Mr Squire detailing the tunnel work and other work related details dated Saturday (16th July 32), plus a one page letter by 'Dad' (Richard Squire) to 'Tom, Hazel & Kiddies all' regarding the letter sent by Ned (E Woodlock) and the ongoing work. He also talks about the health of Mam, his wife, dated 19th July 32. .50) Handwritten one page letter regarding the work at the tunnel and with the information that he was to finally return to the mine, dated 22/7/32, plus a one page letter by E Woodlock to Mr Squire about the ongoing work, dated Wednesday (20th July). .51) Handwritten two page letter written from Mt Mercer, regarding the works in the Mt Mercer Tunnel (mentioning South Cockloft). He also details that the drive from town (Melbourne) took 4 gallons of petrol, dated Thur 28th July 32. .52) Handwritten 3 page letter detailing the work carried on at the tunnels and with the information that underground gas had halted work temporarily. He was keen that Tom should visit one weekend soon, dated Sat 6th Aug 1932. .53) Handwritten four page letter detailing the work and new bore holes near Madisons Tunnel. The No 1 tunnel work had to be suspended due to continued gas filling the diggings every time the barometric pressure dropped. On the last page was a rough sketch of the area which was being worked, dated 19th Aug 32. .54) Handwritten two page letter regarding Tom's proposed visit to the site and some plans that he should bring with him. He also spoke of a pup that he was housing till Tom came, dated 21/8/32. .55) Handwritten one page letter encouraging Tom to bring skid chains for his vehicle as the road was muddy when he came on the weekend. He gave a brief account of the work and of the pup's progress, dated 25/8/32 .56) Handwritten three page letter regarding the weather and the relief he felt at knowing Tom and his companions had arrived safely home. He also thanked Tom for the cheques for Ned and detailed a little of the work at the tunnel and the need for more explosives as well as the fact that they had had to put a lock on the door of the hut to stop intruders, dated Sun Sept 4th 32. .57) Handwritten one page letter regarding the ongoing work at the tunnel, dated Thur Sept 8/32. .58) Handwritten two page letter written from Prahran, regarding his trip home, work at the tunnel and with information about the enclosed receipts, dated 16/9/32. Also included was a one page letter from E Woodlock to Mr Squire regarding the work at the tunnel, dated Wednesday. .59) Handwritten one page letter from Dad (Richard Squire) to 'Tom, Hazel & Kiddies all' written from Mt Mercer, regarding the work at the tunnel and the effect that 2 inches of rain had on the work, dated Wed Sept 20th 32. .60) Handwritten two page letter regarding the work at the tunnel and with the information that Mr Read who owned the property where the tunnel was located, had a serious accident in Melbourne, dated Thur 29th Sept 30 (this 1930 date is a mistake as the information contained in this letter follows on from his previous letter dated 20th Sept 32). .61) Handwritten one page letter regarding the work at the tunnel with the encouraging information that flecks of gold were found in about half a dish (mining pan), dated Thur Sept 22nd. .62) Handwritten two page letter regarding the progress at the tunnel and the difficulties of the work and thanks for Ned's cheque. Also mentioned was the information that Mr Read had a fractured pelvis and would be in hospital for two months, so Mrs Read with her father was looking after the shearing, dated Thur 6th Oct. .63) Handwritten two page letter with a third page of a diagram of a cross section of the Leigh River Tunnel, including the new tunnel and Madisons tunnel, with detailed description of the work in the tunnel, dated Sat 8th Oct. .64) Handwritten two page letter written from Prahran, giving detailed information of the tunnel and the expected outcome of the work. He also commented that he was to visit Mr Read in hospital, dated 14/10/32. .65) Handwritten two page letter written from Mt Mercer, giving information about the work in the tunnel and his visit to Mr Read, dated Wed 19th Oct. Enclosed also was a one page letter from E Woodlock to Mr Squire giving an account of his work in the tunnel, dated Thursday. .66) Handwritten one page letter regarding the work in the tunnel, dated Sun Oct 23/32. .67) Handwritten two page letter from Dad & Jim (Richard Squire) to 'Tom, Hazel & Kiddies all' regarding the receipt of Ned's wages cheque and the insurance of Ned's person as well as a detailed description of the tunnel and its relationship to Madisons Tunnel. He also gives some indication of his health, dated Tue Nov 1st 32. .68) Handwritten on page letter written from Prahran, giving a small amount of information about the tunnel work as well as his visit to see Mr Read and some personal information, undated. Enclosed also is a one page letter by E Woodlock to Mr Squire about the work in the tunnel, dated Thursday. .69) Handwritten one page letter with little information, dated 11/11/32. Also enclosed is a one page letter from E Woodlock to Mr Squire about the work in the tunnel, dated Thursday. .70) Handwritten three page letter with detailed information about the tunnel work and an aside about Jim's help and the he suffered from "Imaginitis imagines he sees a speck of gold in every bit of gravel met", dated 10/11/32. .71) Handwritten two page letter with detailed information on the work as their tunnel crossed with the old Madison Tunnel, dated Thur 17th Nov. .72) Handwritten three page letter detailing information on an application for a 500 acre lease which was posted at the Grenville Post Office and how it would impact on their lease. The upshot was that their leases would need to be re-pegged and the fee to publish a Notice of Application on their Leigh River claim was necessary to pay and he wondered if one of their investors would pay the 10 pounds necessary to secure the claim. He also spoke of perhaps forming a Company to put a plant on their Mt Mercer shaft as he felt that the gold would be of a payable quantity, dated Sunday 20th Nov, Also included was a note written by Ned (Edward Woodlock) who had copied the Notice of Application. .73) Handwritten two page letter detailing information found in Madison's Tunnel as it related to their own tunnels, particularly No 2 tunnel and how far he felt he would need to tunnel to reach an improvement in the 'wash', dated Thur 24th Nov. .74) Handwritten one page letter thanking him for the cheque the investor, Mr Wilkinson had provided for the Notice of Application for the Mt Mercer old Lease of 828 acres. He also gave some information about how it was originally farm labourers who only worked this lease and only when they had no other work. He also gave some personal information about Mam's birthday, dated Mon Nov 28th 32. .75) Handwritten two page letter by Dad (Richard Squire) to 'Tom, Hazel & Kiddies 3' written from Prahran, telling them that they had received Ned Cheque and that that Jim and He had come home. He also detailed an incident that Jim had had with a tyre blowout whilst on his way to get explosives and post the Notice of Application in the Warden's Office in Ballarat. The stub axle had bent and Jim had to ride a bike to get a new one and after changing the inner tube of the tyre they were able to drive back to Melbourne and were in the process on having the tyre re-treaded, dated 6/12/32. .76) Handwritten one page letter explaining how he and Mam had contracted colds and that his kidneys had some of their of trouble. He hoped to return to Mt Mercer on the weekend, dated 18th Jan 33. Also included was a handwritten two page letter by E Woodlock to Mr Squire giving information about the tunnel work, an injury to his hand and the fact that he had only 3 picks that were any good. He also asked for some vegetables, tomatoes and bacon when Richard returned, dated Saturday. .77) Handwritten one page letter written from Mt Mercer, giving information about the tunnel work, now 97'6" in and how he had expected to have already come upon the Madison's gold bearing gravel wash, dated Wed 25th Jan 33. .78) Handwritten two page letter with detailed information about how the tunnel had cut across a second Madison's tunnel and the prospects in this tunnel looked more promising. He also stated that he had not been well the last few days, dated Frid 27th 33 .79) Handwritten one page letter with information about the shotty gold found and the tunnel work and that he would test the value of the wash where the gold was found, dated Mon 30th Jan. .80) Handwritten short note of one page giving sketchy information about the tunnel work, dated Tue 31st Jan 33. .81) Handwritten two page letter giving information about his dealings with the Secretary for Mines relating to the fact that because the application for lease was identical to the old lease, they therefore should not need to pay for a full survey costing 7 pounds, just an inspection. He also detailed the workings and asks for more parsley roots to be sent to him, dated Thur Feb 9th 33. .82) Handwritten one page letter stating that he had received Ned's cheque and information about the workings, the coarse gold found and the fact they were going home for fresh food, dated Tue 14th 33. .83) Handwritten two page letter giving detailed information on the progress of the tunnelling as well as the information that Len and Max had come to visit the site and that Len had brought with him Keating, who he detested and pondered the reason for his bringing the man. As they were leaving Max "told Ned he thought they were going down to Ice Mam". Richard was worried about paying the 7 pounds ten shillings for the Department of Mines survey and was loath to put in another 20 pounds for another share of the mine to pay for it. He gave his thanks for a parcel of parsley he'd received , dated Tue 21st Feb 33. .84) Handwritten two page letter written saying that he had received Ned's cheque (for wages) and giving detailed information on the progress and for the need to timber the drive and have the bottom stoped up. He had no timber or laths left and was concerned about the cost necessary to satisfy the Mines Department. He mentions the possibility of insolvency. Fine gold had been found but not like the Madison's tunnel, dated Tue 28th Feb 33. .85) Handwritten two page letter written giving detailed information of the progress in the tunnel and with the expectation that they would soon meet the same wash which was in Madison's Tunnel. He also personal information about his health. the parsley roots received and the apples which Jim had "burgled", dated Sun 5th Mar 33. .86) Handwritten four page letter by with a very detailed account of the progress of the tunnelling and the reason why the expected intersection with the Madison wash did not occur, but with the hope that this intersection would soon occur, then they would be able to meet expenses. He also talked about not being able to pay for the lease but had the hope they they would not be too rigid in their case. He added some personal information about Jim not having the makings of a miner, catching rabbits "for the pot" and the fact that Mr Read was so much better that he was able to ride his horse, dated Sat 11th Mar 33. .87) Handwritten one page letter written from Prahran, acknowledging the receipt of Ned's cheque, a note about the work at the tunnel and some personal information, dated 21/3/33. .88) Handwritten one page letter written from Mt Mercer, saying that there was little change in the tunnel but that he was would open a cross cut north, dated Thur 23 March 33. .89) Handwritten note of a half page telling them that he had cross cut the tunnel, dated Sat 25th Mar. .90) Handwritten one page letter with progress of the tunnelling and where it is in relation to Madison's Tunnel, dated Thur 30th Mar 33. .91) Handwritten three page letter with the first part of the letter talking about the personal and financial worries he and his family had with travelling and mining expenses as well as Ned's wages which could not have been managed without Judy's little car, Jim's help and the payment of Ned's wages by Tom. He went on to give detailed information of the tunnelling and then talked about a letter received by the Department of Mines regarding the non payment of the lease and that a Notice of Abandonment would be published if not paid. Lastly he talked about the struggle he had had with this process and that it was only because of Tom's help that he had been able to continue this far, dated Sun 2/4/33. .92) A one page letter with information about the progress as well as the information that he had not heard from the Mines Department regarding the lease, and the the 1000 sq ft Miners Right Claim was secure, dated Thur 6th April. .93) A three page letter with detailed information about the work in the tunnel and also detailed explanation of the leases he has pegged and repegged. He also thanked Tom for paying the balance which was owed to the Department and informed Tom that he was going home, dated Tues 11th April 33. .94) A four page letter written from Prahran, thanking Tom for Ned's cheque and with information about the work still being carried on by Ned. He also talked about the pegging of the Mt Mercer claim and the cost of the advertisement and application and survey fees to secure the site as well as his opinion of the probable value of the gold from this site. He also stated that he really needed more investment from those who had initially invested with him or from new investors, dated 17/4/33. Included was a one page letter from Edward Woodlock (Ned) to Mr Squire regarding the work he was carrying out at the tunnel, dated Saturday. .95) A three page letterwritten from Mt Mercer, regarding the work in the tunnel and the quality of the gold found and the direction they will take. He also stated that he was posting letters to the original investors to see if they would contribute to the cost of the lease and also talked about another man who had a Notice of Application posted at Grenville for the water rights for a 25 miles long area and a dam. His Capital is 300 pounds and the supposition is that he wants to 'unwater' the leads, dated Frid 20th April. .96) A one page letter regarding the continued work in the tunnel and how his suppositions seemed to be correct, dated Thur 27th April 33. .97) A three page letter thanking Tom for Ned's cheque of 6 pounds 7 shillings and 6 pence. He also gave detailed information about the tunneling and the type of ground found and his next intentions. He also gave further information about the Notice of Application at Grenville which was posted by B Ryan, Agent for Western Deep Leads Coy Limited for 6000 acres, dated Sun 30th April 33. As well is a note detailing the information copied from the Notice. .98) A two page handwritten letter detailing the work being carried out as well as a complaint that he had not heard from the men he had written to, dated Thur 4th May 33. .99) A one page handwritten letter regarding the tunnel work and informing Tom that the gold found is shotty, dated Sat 6th May 33. .100) A four page handwritten letter written from Prahran, detailing the tunnel work and informing that the gold prospects were better in no.1 cross cut south and there was also payable fair gold where they were currently working, if worked in bulk. He also talked about the possibility of new investors as the old ones had not responded to his letter and the necessity of securing the leases, dated 11th May 1933. .101) A one page handwritten letter by E. Woodlock (Ned) to Mr Squire regarding the work going on, dated Thursday. .102) A six page handwritten letter written from Prahran historically detailing the acquisition of the two leases at Mt Mercer, 35 years earlier, with M C Donnely/Donney and Jas Clements, including Madisons. He goes on to clarify Tom's suggestion regarding the Leases and the Companies to be floated, then details the the shafts, bores, tunnels and Deep Leads held in the leases and then goes on to say what his next steps would be, dated 13th May 33. .103) A two page letter written from Mt Mercer detailing the continued work in the tunnel with the added information that because of the incline it was taking two men to push the truck up the tunnel. Richard also told of the need to take more parsley water for his condition, dated Thur 18th 33. .104) A three page letter with a very detailed description of the work in the tunnel. Richard also told that he had run out of metal rails and was having to use timber as a substitute. He was also to re-peg the North and South Leases in the morning, dated Sun 21st May 33. .105) A two page letter detailing the work in the tunnel and saying that there was a hundred feet of rail locked in by a fall in the No.2 Tunnel and he was hoping to get them out to replace the wooden rails as they made for heavy work on the inclines. He also said that he had a letter from the Department telling him to communicate with the Surveyor in Ballarat, dated Wed 24th May. .106) A three page letter acknowledging Ned's cheque as well as information about the work in the tunnel, including that he had been able to retrieve 45 feet of rail and would get more when needed. He said he was pleased that Tom and Mr Wilkinson were making a trip on Saturday to see him. He talked of the weather and the fact that the bread was a week old, so to bring enough to last till the Monday. Among other things he also spoke of Tom revising the Plans and also having a Share book printed and the name was to be the Ballarat Deep Leads Extension for which there could possibly be 3 Companies, dated Sun 28th May. .107) A one page letter with information about the work in the tunnel and also a weather update and the best way to come, dated Wed 31 May 33. .108) A two page letter written from Prahran, explaining a visit to the Leigh River Shaft to get whim rope, whip wheels and sundry items. He shifted some equipment and built a new forge and was to fix and mount a windlass and rope to enable Ned to get the truck up the incline of the tunnel. He also spoke of the work being undertake by Ned then when on to more personal correspondence about a birthday present for one of Tom's boys, dated 9/6/33. .109) A two page letter acknowledging receipt of the 'Prospectus of the Ballarat Deep Leads Extension Syndicate' and 'Share Certificate'. The No.1 Lease was in Ned's name and the No.2 Lease was in Jim's name to avoid inquisitive interest. Jim logged a Notice of Application and paid the fees. Richard acknowledged receipt of Ned's cheque and asked for 5 pounds as his finances were 'rather tight', dated 14/6/33. Included was a 1 page letter from Ned to Mr Squire regarding the work in the mine, dated Saturday. .110) A one page letter written from Mt Mercer giving information about what was happening in the new x cut N near the mouth of the tunnel, dated Friday 16/6/33. .111) A one page letter telling about the work and that he had fixed an old shed of Mr Reads for the forge. Mr Read and Mr Cameron visited and Richard was hopeful that Mr Cameron, the owner of the land in the North Lease would be easy as regards an agreement, dated June 22/33. .112) A two page letter which talked about his health, the mine, the local J.P. who had lost his eye in a shearing accident and the surveyors visit, He also spoke about contacting the Gold Mines Ltd and the Berry Leads Company, dated Tue 27th 33. Also included was a letter to the Mines Department and a receipt from the Mines Department for the sum of 7 pounds 10 shillings as well as the Lease Applications from the newspaper dated June 13th 1933. .113) A two page letter complaining of the charge made by the Mines Department for a Surveyors Inspection. He also wrote of trying to set up a float for the mine which he would do when he returned home.He also explained the current findings at the mine, dated Sun 2nd July 1933. .114) A one page note written from Prahran informing Tom that he had not yet heard from Gold Mines Ltd and also that there was a hitch with the lease on the house, but this was to hopefully be fixed the following day. He also spoke of Tom's trip home (completed in tow), dated 18/7/33. .115) A two page letter recounting some of the difficulties they were having with the new owners of the house they leased in Prahran. He also spoke of the fact that the Mines Department had requested another 10 pounds although they had not yet completed the survey on either mine, dated 21/7/1933. Also included was a one page letter from E. Woodlock (Ned) to Mr Squire about the workings, dated Tuesday and a letter from the Gold Mines of Australia Limited saying that the information he had supplied was now with their engineers, dated 20th July, 1933. .116) A three page letter written from Armidale saying that Mam (his wife) was fretting with the move to this house. He also told of the rejection by the Gold Mines of Australia Limited of his proposal to invest in his Mt Merser Mine, stating that he believed that Jim Clements who had been the manager when the mine had previously been opened, had most likely "thrown all the cold water he could" on the proposal. He spoke at length about how this man had run the mine into the ground and his own involvement with the winding up of the company. He went on to say that he would approach Ryall to see if he was interested in investing, dated 28/7/33. Included was the letter from Gold Mines of Australia Limited, dated 26th July, 1933. .117) A two page letter written from Prahran telling of the move to another house where Mam was quite settled. He also wrote of the work Ned was carrying out at the mine as well as personal and family news. He wrote that as he had not heard from Ryall, he would visit him the following day, dated 6/8/33. Also included was a two page letter from E Woodlock to Mr Squire giving detailed information of the progress at the tunnel, as well as asking for a new pair of boots as the ground was so wet his were letting in the water, dated Thursday. .118) A two page letter explaining about a letter he received from Mr Cameron who believed he had found gold as well as some personal information and his health, dated 8/8/33. Also included was a one page letter from Neil W Cameron to R B Squire telling about some specks of gold he'd found in a post hole, dated July 31st 33. Thirdly was a one page letter from Ned to Mr Squire explaining the work he was doing in the tunnel, dated Saturday. .119) A one page note saying that he did not like the enclosed 2 copies of the typed Agreement of the Leigh River Gold Mining Company with William Ryall, but asked Tom's advice. dated 9/8/33. .120) A two page letter dealing mainly about the work going on at the new house and the settling in process. He also wrote about the proposed Agreement with Ryall, dated 11/8/33. Also included was a one page letter from Mr Ryall to R B Squire from which part of the left hand side had been severed, dated 10th August 1933. .121) A one page note from R B Squire to W Ryall dated 14/8/33, with attached one page of information and figures. Also attached a one page letter from R B Squire to W Ryall asking if Ryall would be interested viewing the plans for an alluvial mining proposition, dated 27/7/33. .122) A three page letter mainly about the visit to Ryall and a Mr Cundy about the proposed agreement with his concerns about the language and terms of the agreement, dated Sun 21st 33. Also included was a letter from Ned to Mr Squire about the continued work in the tunnel and the fact that two of the pick heads had cracked and would have to be fixed, dated Thursday. .123) A two page letter dealing with a meeting had with Ryall and others in a private office regarding the interest in investing in the mining proposition, dated 23/8/33. .124) A four page letter dealing mainly with the work at the tunnel and exploratory diggings at the spot Mr Cameron had written about as well as the damage done to the car on the way to the workings, dated 29/8/33. .125) A one page letter telling of a proposed meeting with Mr Taylor and a Mr Bowler, who may turn out to be Alan Bowler who he knew, regarding the Mr Mercer Float scheduled for the following day, dated 30/8/33. .126) A five page letter explaining the content of the meeting held with Mr Bowler, who represented an English consortium which was interested in the Mt Mercer site. He explained the terms that the consortium would offer if they went ahead, This included 25 % shares in the mine but no money, which he bemoaned because of the shortness of their cash reserves. He went on to detail the 4 distinct deposits of wash in this field, which he believed were unique in the Ballarat district. He also stated that he had not heard from Mr Ryall. He closed by talking about the water levels in the mine, dated 1/9/33. .127) A two page letter saying that he had written an 11 page report on the Mt Mercer field for the English consortium as well as a private letter for the chairman.He also reported that he had been to see Ryall. Neither party knew that he was talking to the other. added was some personal information, dated 6/9/33. .128) A one page letter telling of a meeting with Mr Bowler and Mr Tayler who carefully went through his report. It was then being typed. He believed he had two strong supporters, dated 7/9/33. Also included was a 2 page note from A Bowler to R B Squire asking him to bring the report into the office the following day to be perused and typed, dated Sept 6th 33. .129) A two page letter with personal encouragement for one of the children. The letter then goes on with more information about the meeting with Mr Tayler and Bowler and his impressions of their interest. He also talked about the one of the experts who was to examine the site and also about the report which was now typed and a copy sent to Tom, dated 8/9/33. .130) A one page letter keeping him informed of progress. The expert was away but would be briefed on his return. He also thanked Tom for a cheque, which was used to get the car 'Liz' back in order for the trip to be made with the experts at a later date. He informed Tom of his intention to return to Mt Mercer, dated 13/9/33. .131) A one page letter written from Mt Mercer telling of the trip from Melbourne and the weather. He spoke of what was happening in the tunnel and that he had not yet heard from any of the interested parties, dated Tue 19th Sept. .132) A five page letter written from Prahran with detailed information about the tunnels, the washes and the shows. He also detailed his meeting with Bryant 38 years ago at the No 1 at Carisbrook and how he had given him assistance at that time and subsequently as well as giving his version of a potted history of Bryant, dated 29/9/33. .133) A two page letter with information about the arrival of the chairman of the English group and that Ned had shown Mr Kermode around the site, dated 6/10/33. Also included was a cutting from the Age about the arrival of Mr F W Baker, representing a large English financial group interested in Victorian deep lead propositions, dated Oct 6th. As well were two, one page letters from Ned (E Woodlock) to Tom, regarding the work in the tunnels, the bad air and the hopes of a successful float, dated Tuesday and Wednesday. .134) A one page letter thanking them for the gift of eggs and parsley. He also talked about a letter from Bowler regarding the business of the experts and that their leases would be seen in due course, dated 10/10/33. Included was a one page letter from A Bowler to P B Squires saying that Mt Mercer site was receiving attention but that no decision had as yet been made, dated Oct 9th 1933. .135) A three page letter written from Prahran giving information about Richards visit and conversation with Mr Ryall, who indicated that no decision had as yet been made regarding his proposal. He also included some personal information about members of the family, dated 18/10/33. Included was a one page letter from Ned (E Woodlock) to Tom with information about the tunnelling progress in no.2 tunnel and the bad air that drove them out for a time, dated Saturday. .136) A one page letter containing a brief update on the state of affairs , dated 20/10/33. Included was a one page letter from Ned to Mr Squire with an information on the progress at the tunnel and with the information that his hands were cracked so badly that he was wearing two socks on each hand, dated Saturday. .137) A one page letter which family news and a paragraph about the figures in his calculations, dated 21/10/33. On the back side was a letter from E Squire (his wife) to Tom, Hazel & boys again with family and personal information, dated 22nd 10/33. .138) A three page letter with the disappointing news that the English consortium would not take up the option on the Mt Mercer lease and gave his opinion that it was self interest that stopped it going ahead. He then gave two options as to the way forward, dated 24/10/33. Also included was a typed one page letter from W C Tayler to R B Squire informing him of a letter stating that the proposal had been turned down, dated 23rd October 1933. .139) A three page letter informing of further developments with Mr Tayler who asked for the plans to be left at the office till the following week as there was another company who may yet be interested to take up the option, dated 27/10/33. .140) A one page letter asking for 9 copies of the old agreement to be typed for the 3 Syndicate members, Rice, Cameron and McNaughton, dated 5/11/33. .141) A three page letter regarding the decision by the Syndicate to reopen the LRG shaft and the practical issues of timber acquisition and probable costs. He then went on to talk about Mam's indisposition and treatment by the herbalist, Goon, dated 8/11/33. Also included was a newspaper clipping from the Age entitled 'Inquiries for properties at Ballarat'. .142) A three page letter giving all the news regarding the agreements, the costs and the way forward. He also spoke of his wife's improvement and other personal information, dated 11/11/33. .143) A two page letter written from Mt Mercer regarding the difficulties in obtaining the timbers and tanks needed to reopen the shaft and the state of all the existing fittings and what would be needed to get the site operational again. His agreement with Mr Read had duly been signed, dated Thurs 16th 33. .144) A two page letter with further information about the progress with acquiring and repairing the shaft site, dated Mon Nov 20th 33. .145) A three page letter informing that the timber for the whim & shaft were being delivered and the area had been cleared out for the poppet heads. The top of the shaft had been cleared ready for re-framing and other work had been carried out. Liz, the car had broken down and Jim was in the process of fixing her. He concluded with information about his and his wife's health, dated Sun 26th Nov 33. .146) A four page letter with news of Mam's health, the problems associated with fixing the car and the floods which stopped Jim from going to Ballarat and washed away the Gary Bridge which affected the mail and had halted work at the shaft, as well as delaying the second delivery of timber, dated Sun Dec 3rd. .147) richard squire, william ryall, jim clements, gold mines of australia limited, e woodlock, ned woodlock, neil w cameron, alan bowler, mr cundy, don mcnaughton, mr rice

Federation University Mount Helen Campus was open to students in 1970. In that year Mr Dowling as photographed beside a big Tasmanian bluegum which was used a the centre Mount Helen Campus concept plan, and later became known as the Tree of Knowledge. Mr Dowling watered the tree after it was planted by his mother, Elizabeth Downing, on Arbour Day 1896. Mrs Downing raised her large family on the site of the Mount Helen Campus, which included an orchard and milking cows. The Tree of Knowledge is actually two trees, the trunks have fused together over time, and there is further evidence of fusion. The Downing farmhouse was situated in the vicinity of the present Administration and Caro Conference Centre buildings and the tree was planted beside the "dunny". It was carefully watered by the nine Downing children from a brick-lined well situated under what is now the Albert Coates Building. As the tree grew to maturity, it was used to hang a meat safe after slaughtering a sheep for the family table. Some years ago, when the foundations were being dug for the E-Building, an old rusted percussion pistol was found. One of Mrs Downing's sons, at that time well into his nineties, remembered getting into trouble for playing with it without permission, and losing it. The land was purchased in 1966 as part of a 241-acre site for Ballarat's new tertiary institution. When the architects and planners inspected the site, they decided "The Big Tree" must remain as a central landmark in preparing the layout of the campus amenities. In 1982, the spread of the tree was 36 metres, girth 7 metres, and height 36 metres. By 2003 the spread was 39.5 metres (N-S) and 35.5 metres (E-W), girth 7.75 metres, and height 42.5 metres. A man in overalls and jacket stands beside the Federation University Tree of Knowledge. Stage one buildings on the Mount Helen Campus are evident in the background.elizabeth downing, downing, tree of knowledge, big tree, mount helen campus, mount helen

“The Squadron’s Most Prestigious Trophy” THE CACTUS STORY Years ago a story was told of a Donkey which lived in the desert. The standard of living was poor, and the main course on the menu when things were tough was cactus. The Donkey accepted the good with the bad, and in bad seasons it was always cactus. One day during his wanderings he came to a high fence. On the other side of the fence was lush grass and all sorts of vegetation and animals in prime condition. The Donkey said to a horse, “things look good in there, how does one get in”. The horse said “go down to the end of this fence, and you will come to a gate, there will be someone at the get, ask to get in”. The Donkey went to the end of the fence, found the gate and asked to get in. The horse at the gate said, “what do you want to come in for, all of us are geldings?”. The Donkey said “if that is the case, it is back to the cactus for me”. It was during the early stages of the great depression of 1929-1932, that this story was simulated to the conditions at the then Royal St. Kilda Yacht Club, when during the yachting season there were very few trophies due to the lack of money. A lot of members were out of work, and each Monday many would front up for the jobs that were offering or those who missed out went back to the dole or as many put it “Back to the Cactus”. The “Cactus Cup” race, to be free of entrance fees, was an idea conceived by H.A. (Toby) Armstrong, soon to be backed by Bert Bryant, Ivor Bowles and Jim Thorpe. It was First sailed March 25, 1922, when 9 yachts on sealed handicaps, raced over a 5 mile rectangular course for a small Trophy donated by Jim E. Thorpe and the winning crew of the yacht Helen, skippered by D.Dowse, entertained at a café after the race by the instigators of the race. The next contest was April 12, 1930, for another small trophy also donated by Jim Thorpe, and the crew of the winning yacht Petrel, skippered by Stan Gamble, later on having to arrange for a mussel supper to the extent of Trophy money at an informal musical evening held in the spar room. From then on races for the Cactus Cup became an annual event. In time the format was changed to result in the crew of the first winning yacht having to collect mussels from the pier on the first Saturday of July, cook and prepare them for a no charge informal supper and entertainment evening held in the spar room, towards which the Club provided a keg of Beer. Member Bob Ellis had a special song for the occasion, “Up at Tumba Bloody Rumba shooting Kanga Bloody Roos”. Jim Thorpe then agreed to purchase a Perpetual Cup to be named the Cactus Cup. As guest of honor at the Cactus Supper Evening, May 1940, a dinner suit function in the Spar room, he presented the Cup along with Replica to Barney Snider who won with Eun-Na-Mara. Soon entries became few, for reason nobody wanted to win because of the penalty of having to collect, cook and prepare the mussels. In the interest of the contest and its revival, it was decided that the crew of the last yacht to finish had to collect, cook and prepare the mussels. On the death of Jim E Thorpe in 1944, the trophy, along with its annual replicas, were then provided for by Ivor Bowles until his death in 1970. In time for reason of pollution, the collecting of mussels from the pier was discontinued, so Otto Meik the new provider decided that the format be changed and be replaced by a supper on the day of the race, consisting of bottle mussels, beer and frankfurts. Following the death of Otto Meik in 1979, with no provider for the trophy of replicas, the Squadron in the early 80’s broke tradition by introducing race entry fees. In 2006 the Cactus Cup Tradition was reinstituted by a donation from J.H. (Bert) Ferris – RMYS historian. The Cactus Cup is now free to enter once again for all. The race is run early and a late afternoon feast of mussels and frankfurts is eaten afterwards.Deep sectioned Silver Cup, 300mm high to lip, tapering to thick plain stem flaring out to stepped footing, has two shaped handles. Silver Lid with Donkey positioned on shaped dome. Overall height 110mm. Cup stands on 145mm high round black base with stepped footing, surrounded with Silver winner inscription band.ROYAL ST. KILDA YACHT CLUB PERPETUAL CACTUS CUP INAUGURATED 1922 INSTIGATED BY H.A. ARMSTRONG ESQ. ORIGINAL CUP PRESENTED BY J.E. THORPE ESQ.cactus cup, trophy

A novelty postcard with pull-out strip of 9 miniature photographs that was produced by the Valentine Publishing Co as a souvenir of Marysville.A novelty postcard with pull-out strip of 9 miniature photographs that was produced by the Valentine Publishing Co as a souvenir of Marysville.Just a Line from MARYSVILLE 1355 PRINTED PAPER/ MAILING NOVELTY TO OPEN RAISE FLAP VALENTINE'S "MAIL NOVELTY" POST CARD/ COPYRIGHT From Printed in Great Britain To Marysville Chalet/ Marysville/ Phone 12 Dear Nev. We had a good/ trip up, left Ballarat/ 1/4 to 2 & Ivy & Kev were waiting 1/2 hr for us &/ Kev took the lead through Melbourne & by cripes/ was I glad to get through it, our darn engine/ kept cutting out, at the stop signs, by cripes I felt/ like crawling under the seat. Its beautiful weather/ here, we done a couple of good walks, going fishing/ this afternoon, Merle & Valerie have mixed up with/ some of the young mob & seem to be doing alright./ Well hope every-thing is going OK down there./ Merle & Val are thinking of going horse riding./ The trees and ferns are gorgeous here, tall I have never/ seen so tall a trees. Well Nev must close now. Love from Mum. Xmarysville, victoria, postcard, souvenie, valentine publishing co, crossways cabaret (image 1), taggerty river (image 2), acheron way (image 3), black spur (image 4), nicholl's lookout (image 5), main street marysville (image 6), sugarloaf bay eildon (image 7), steavenson falls (image 8), cumberland falls (image 9)

The photo depicts one shift of mine hands at Hanlon Consols Mine Rokewod in 1901. ist on the left is George Edgar Yung. George was born in Ararat the son of Yohann Godlip and Christina (b Weller)Yung. They lived at Happy Valley near Linton. and Piggoreet. Yohann was a miner and died in the All Nations Mine collapse at Derwnt Jack's in 1877. Interesting to note in the following information that the Hanlon Consol mamager, William Maughan was also the manager of the Try Again Mine in Piggoreet. He was also on the six man school committee of Piggoreet Common School No. 726. (Is this why George Yung ended up working in Rokewood because of a previous connection at Piggoreet? George married Clara Emma Smith from Happy Valley and worked in a mine at Allendale. They later moved to Yendon) About the Hanlon gold mining company near Rokewood. 1901 - Information Bendigo Prospecting Club, 21/08/2020. Information provided once again by Peter McCarthy. Christopher Hanlon had put down a line of bores south of the Rokewood main street, looking for a continuation of the Break O’Day lead which had been worked for two or three miles with highly payable results, though in a primitive manner. Ground was being paddocked 30 feet deep and made to pay. The bores suggested the sinking would be about 70 feet and a shaft site was selected at the back of Stanbrook’s Hotel. The Hanlon Gold Mining Company was formed in March 1895 and the shaft was bottomed at 68 feet, getting just over an ounce of gold from the shaft bottom. By January 1896, the poppet heads were up, and steam plant was nearly ready. The mine produced 846 oz by September, which was not as good as expected, but they installed a second puddling machine. The mine was profitable for the next three years, with periods of prospecting and the need to install steam pumps in 1897. A second shaft was sunk in 1899, which bottomed at 86 feet on good wash and was sunk on to 109 feet. 1743 oz of gold had been produced in six months to September 1899, but the No1 shaft was let on tribute as the No2 workings were opened and machinery installed the following year. The No1 shaft tributors broke even in 1900 and in 1901 the shaft was shut down, with the No1 shaft machinery sold late in 1902. By September 1901, the mine had produced gold worth £66,124 and the No2 shaft main drive was in 346 feet, with gold being found mainly in crevices in the hard floor. Mining continued, but once the No2 shaft workings met up with the old No1 shaft workings at the end of 1902 there was not much wash remaining. The mine was let on tribute in June 1903 and a drive was put in to test deeper ground. The company was wound up in February 1904 and the plant sold. From what they discovered, the manager concluded that the mine sat at the edge of an ancient coastline and the gold was in a beach deposit. The total gold production from the mine was worth £73,294. J Lee Archer JP, shareholder, was the manager of the Bank of Victoria in Ballarat. Born in Tasmania, he came to Victoria with his parents and first came to Ballarat in 1855 as a junior clerk with the bank. He died in 1902 aged 64. Alexander J. Peacock was a legal manager and a share broker. In 1897 Peacock, born in Creswick, had been elected as one of the Victorian delegates to the Constitutional Convention which wrote the Australian Constitution. He later became a politician, state treasurer and three times state premier of Victoria and was knighted KCGM. He died in 1933 aged 72. William Maughan, director, was an English miner who came to Victoria in the 1850s and became a mine manager, managing the Try Again at Piggoreet, Ryan’s Freehold and the Madam Berry, among others. He died in Williamstown in 1915 aged 85. Sepia photographRhs front of photo: R. Millist Phto & Lanternist Geelong Verso (upside down): ONE SHIFT OF MINE HANDS HANLON CONSOLS MINE ROKEWOOD 1901 Grandfather Yung 1st on left rokewood, hanlon consols mine, shift of mine workers 1901, gold mines, george edgar godlip yung, william maughan

Handwritten on foolscap paper, with red seal on last page.1) The Subcontractor is also to remove the following [ ? ] from Mr Webb's paddock ... to the Madame Bent Mine Grenville ... .2) Specification for the taking doan, removal and reerection 2 Engines 2 boilers pumping gear, Bob, Poppett heads and Capstone etc, for teh Mdame Bent G.M.Cy Grenville. The company will provide ... .3) Morey's Coys yard, together with holding down bolts, and the following ... .4) to the extent of Bed ... Carpentry Work - To carefully take down the poppet heads and co... and erect the same on the claim complete ... .5) Engine Framing as shown for the winding engines and pumping engines. Properly fitted to get ... .6) The boilers to be fed in front. The contractor to cut and drill all necessary holes in the boilers and pipes - to fire blow ... The contractor to make good any damage or breakage or loss to machinery or any part hereof that may occur to it during the removal of the reerection of same. The loss or damage, if any, not being made good by the contractor, or in the event of the works not being proceeded with to the satisfaction of the Company;s Engineer, The company's Engineer hereby ... .7) of the whole of the works, and in default thereof the COntractor shall forfeit the sum of two pounds ... Signed James Malcolm Witness L. Menz The Common seal of the company was affixed this thirteenth day of December:/86 by its manager James Burrell in the presence of [illegible] managers Seal - Madame Bent Gold Mining Company Durham Lead Buninyongmadame bent gold mining company, richard squire, james malcolm, james burrell